Search
Search results
Purple Phoenix Games (2266 KP) rated Journey of the Emperor in Tabletop Games
Jun 13, 2019
Do you think you know how to party? I thought I did, too. Then I played Journey of the Emperor, where you are planning an exciting party of journeys for the Emperor and their friends. They are all relying on YOU to provide them with the best journeys seeing exciting animals, beautiful flowers, and colorful lanterns along the way. But will you be able to plan wisely in the limited time you have been given? Let’s find out.
We were very excited to receive this game from Laboratory H for preview before they began their Kickstarter campaign. We love games with an Asian influence, and it seemed to have touches and inspirations from Tokaido, another favorite of ours. What we received is its own beast with great art and components.
So like I alluded to in my intro, you play a party planner drafting the best path cards to build the most killer journeys for your Emperor. You are dealt a hand of path cards – big, beautiful cards – that can feature different combinations of Journey Start, Journey End, animals, and lanterns icons. To assist you in focusing your strategy, you are also dealt four Emperor’s Favorites cards, from which you will keep two and discard the others. From the large stack of remaining path cards you reveal six as an offer and the game can begin.
On your turn you will be drafting cards from the offer, playing cards from your hand, and trying to complete objectives for points on your Emperor’s Favorites and Journey Start and End cards. These cards have scoring conditions printed on them to help tailor your play. So a Journey End card could have a picture of a flower on it (as all Start and End cards do) with a scoring condition of 3 points for every tiger icon on this completed Journey (I want to call this a “scoring panel” for this review to make it easier). So then you want to concentrate on getting as many tiger icons into this Journey to score tons of points. Or perhaps a Journey Start card will have a different flower, and state that you get 21 points for every set of tiger, dragon, and turtle icons. Either way, you now have a goal to achieve and you spend the game trying to amass the most points from these scoring opportunities and those found on your Emperor’s Favorites cards, which have similar scoring iconography. Most points at game end wins!
While this seems easy and that there is no inherent strategy, let me introduce the wrinkle. You can only score points from completed journeys. Each completed journey has at least a Journey Start and Journey End card. These cards will be adjacent to each other to form a pathway through the cards. You may never add a path card to your journey between two existing cards, but they can be added to the edges of a journey – either at the beginning or the end. If you add to the beginning, you will completely cover up the Journey Start card’s scoring panel so that you can create an uninterrupted path. Herein lies the strategy. At what point do you take the plunge and cover up a scoring panel to add to your journey? Yes, you can get way more points by doing this, but in a 4-player game you only have EIGHT turns. So do you feel like you will be able to draft just the right cards to maximize your scoring or will you falter and not be able to complete a journey in time, thus forfeiting any points you could have scored? Oh, you clever game…
Components. This is a smaller card game. The Emperor’s Favorites cards are about the mini size you would find in OG Ticket to Ride. The path cards are much larger and similar to the tarot sized cards, if not even taller. Both are of great quality with the wonderful linen finish (that I’m learning is more polarizing than I originally thought, but I love it!). Our review copy came with a few scoring sheets to tally the final scores – which we didn’t use correctly but still arrived at the correct final scores. The art in this game is truly breathtaking. The details in the murals in just the backgrounds of the path cards are amazing, and the flowers and animals are really really incredible. If we had one small gripe about the art, it was mentioned that someone could not tell much of a difference between the tiger and the dragon icons on the path cards. I didn’t have much of a problem deciphering the difference, but they are very similar in color and style, so I can see how others may view this as an issue for them.
DISCLAIMER: These are preview copy components, and I do not know if the final components will be similar or different, or if the Kickstarter campaign will alter or add anything through stretch goals. That said, I am very satisfied with the components provided in this game.
This is a really good game. A lot more thinky than Tokaido (using a similar theme), and ultimately more enjoyable because you really feel you have control over your turns and aren’t just going for the best available at the time. You actually have to employ strategy here in order to be competitive. And although this is not a spiteful take-that game, you most certainly can foil your opponents’ plans indirectly by drafting their much-needed path cards. The art is amazing, the game is a great length, and you really want to keep playing. To me, that is the mark of a really good game. All that said, I would recommend this one if you are looking for a quick game that gives you all the good feelings of Tokaido but also scratches more of a gamer’s itch for actual strategy. Oh, and it’s absolutely beautiful.
We were very excited to receive this game from Laboratory H for preview before they began their Kickstarter campaign. We love games with an Asian influence, and it seemed to have touches and inspirations from Tokaido, another favorite of ours. What we received is its own beast with great art and components.
So like I alluded to in my intro, you play a party planner drafting the best path cards to build the most killer journeys for your Emperor. You are dealt a hand of path cards – big, beautiful cards – that can feature different combinations of Journey Start, Journey End, animals, and lanterns icons. To assist you in focusing your strategy, you are also dealt four Emperor’s Favorites cards, from which you will keep two and discard the others. From the large stack of remaining path cards you reveal six as an offer and the game can begin.
On your turn you will be drafting cards from the offer, playing cards from your hand, and trying to complete objectives for points on your Emperor’s Favorites and Journey Start and End cards. These cards have scoring conditions printed on them to help tailor your play. So a Journey End card could have a picture of a flower on it (as all Start and End cards do) with a scoring condition of 3 points for every tiger icon on this completed Journey (I want to call this a “scoring panel” for this review to make it easier). So then you want to concentrate on getting as many tiger icons into this Journey to score tons of points. Or perhaps a Journey Start card will have a different flower, and state that you get 21 points for every set of tiger, dragon, and turtle icons. Either way, you now have a goal to achieve and you spend the game trying to amass the most points from these scoring opportunities and those found on your Emperor’s Favorites cards, which have similar scoring iconography. Most points at game end wins!
While this seems easy and that there is no inherent strategy, let me introduce the wrinkle. You can only score points from completed journeys. Each completed journey has at least a Journey Start and Journey End card. These cards will be adjacent to each other to form a pathway through the cards. You may never add a path card to your journey between two existing cards, but they can be added to the edges of a journey – either at the beginning or the end. If you add to the beginning, you will completely cover up the Journey Start card’s scoring panel so that you can create an uninterrupted path. Herein lies the strategy. At what point do you take the plunge and cover up a scoring panel to add to your journey? Yes, you can get way more points by doing this, but in a 4-player game you only have EIGHT turns. So do you feel like you will be able to draft just the right cards to maximize your scoring or will you falter and not be able to complete a journey in time, thus forfeiting any points you could have scored? Oh, you clever game…
Components. This is a smaller card game. The Emperor’s Favorites cards are about the mini size you would find in OG Ticket to Ride. The path cards are much larger and similar to the tarot sized cards, if not even taller. Both are of great quality with the wonderful linen finish (that I’m learning is more polarizing than I originally thought, but I love it!). Our review copy came with a few scoring sheets to tally the final scores – which we didn’t use correctly but still arrived at the correct final scores. The art in this game is truly breathtaking. The details in the murals in just the backgrounds of the path cards are amazing, and the flowers and animals are really really incredible. If we had one small gripe about the art, it was mentioned that someone could not tell much of a difference between the tiger and the dragon icons on the path cards. I didn’t have much of a problem deciphering the difference, but they are very similar in color and style, so I can see how others may view this as an issue for them.
DISCLAIMER: These are preview copy components, and I do not know if the final components will be similar or different, or if the Kickstarter campaign will alter or add anything through stretch goals. That said, I am very satisfied with the components provided in this game.
This is a really good game. A lot more thinky than Tokaido (using a similar theme), and ultimately more enjoyable because you really feel you have control over your turns and aren’t just going for the best available at the time. You actually have to employ strategy here in order to be competitive. And although this is not a spiteful take-that game, you most certainly can foil your opponents’ plans indirectly by drafting their much-needed path cards. The art is amazing, the game is a great length, and you really want to keep playing. To me, that is the mark of a really good game. All that said, I would recommend this one if you are looking for a quick game that gives you all the good feelings of Tokaido but also scratches more of a gamer’s itch for actual strategy. Oh, and it’s absolutely beautiful.
Hazel (1853 KP) rated Kids of Appetite in Books
Dec 14, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
Gareth von Kallenbach (980 KP) rated Climax (2018) in Movies
Jul 2, 2019
If you’re going to see this film, it likely won’t be a huge surprise to you. Those that will buy a ticket already know who Gaspar Noé is and what he’s all about. Films like Irreversible and Enter the Void have defined him as an artist of scandal, evil and the extreme. Climax follows directly in the footsteps of those films, but at this point it does leave us wondering if there’s any room for growth in this writer/director or if we’ll just continue to get more of the same until we’re sufficiently numb to his offerings.
The setting for Noé’s latest tour of human horrors is the final rehearsal of a French dance troupe set to tour internationally. The film begins with the final scene of the movie and the ending credits. Then, just as your confusion has built to appropriate levels, things actually begin with videotaped interviews of all 22 members in an attempt to give you some semblance of character introduction. Shown on an older TV, the screen is surrounded by books and plays focused on ultra-negative philosophical views and subjects such as schizophrenia and suicide. So, despite the rather upbeat and optimistic responses of the prospective dancers, the tone is already being set for the madness that is about to commence.
From there we are taken to the big dance number. A ten-minute single shot involving the entire cast choreographed to 90’s EDM music. While this scene felt a little bit long, it did nearly as much to introduce the characters as the audition tapes shown earlier. Each dancer has a unique style and flair that executes a certain character development. Once the dance is complete it feels like the movie finally begins and the cast starts their post-rehearsal party. The soiree involves dancing (of course), drinking (homemade sangria) and some minor cocaine use. But it mostly consists of quick shots between different cast members taking part in some intergroup gossip. We are treated to one more (non-choreographed) dance scene with each individual showing their talents in a circle of their comrades, then we break again for more conversation. As the party continues on everyone starts to feel a little bit funny. They quickly deduce that the sangria has been spiked with LSD, but cannot determine who drugged them.
And this is where the hour-long journey into hell embarks from. The realization that they have been drugged seems to worry them very little, but does instantly turn them all against each other. The effects of the LSD ramp up rather quickly and as the cast members descend into madness the audience is treated to a myriad of trauma and depravity including: rape, incest, self-mutilation, child electrocution and an attempted abortion via a swift kick to the stomach. None of this should be any surprise to someone familiar with Noé’s work. But if this is your first experience with his particular brand of filmmaking, then be prepared to leave no perverted stone unturned.
One of the most impressive things about this film is how little preparation actually went into it. The entire film was shot in 15 days and edited to completion in only 3 months after that in order to meet the Cannes festival deadline. In addition, it was shot with a mere 5 pages of script. The majority of the film consists of both dancing and psychotic undulations inspired by web videos of people high on crack, ecstasy and acid which were hand-selected by Noé. So, despite the assumed need for structure that comes with extended tracking shots such as these, the whole movie is (surprisingly) mostly ad-libbed. Only the opening dance scene is choreographed with all of the remaining ones being the result of the how the dancers chose to express themselves through dance.
In the end you’ll be left wondering if all of the shock and awe that’s been served to you actually meant something, or if it was simply sensory overload for the sake of itself. And that’s where the movie really falls short. If Noé had meant for any sort of deeper meaning in this film, it was ultimately lost to extreme subtlety. I did my best to find the clever allegory here (French history and culture, biblical stories, etc.) and I admittedly fell short. “Birth is a unique opportunity. Life is an impossible collective. Death is an extraordinary experience,” read three title cards which flash throughout the journey of Climax. Although these sayings are poetic and beautiful, they seem to have little or loose application to the actual storyline.
The strongest feelings in this film are not evoked from any sort of meaning or fable-style lesson. They come from the distress and disgust brought about by the actions of the characters and, more so, the beautifully executed cinematography. Every filming technique meant to cause discomfort is present here including: long tracking shots, inverted imagery, black screen with nonlinear sounds and subliminal images. The application and combination of all of these effects means that much credit for this film should most likely go to Noé’s DP, Benoit Debie.
Fundamentally, the judgement for a Gaspar Noé film exists on a different scale than any other film. And while that concept can be new and exciting when the first shocking film debuts, you quickly realize that subsequent ones have to continue to push the boundaries that were originally broken. Otherwise you run the risk of becoming stale. We may have gotten to that point now with Noé. Climax brings very little new shock to the table for a director who has developed his reputation as a purveyor of wickedness. Those who attend this movie will be looking for him to push their horror to new levels, but will likely end up unfulfilled. Although the lack of a new frontier doesn’t remove all of the value for the film, Noé has made implicit promises through his other work which he has failed to deliver upon with Climax.
The setting for Noé’s latest tour of human horrors is the final rehearsal of a French dance troupe set to tour internationally. The film begins with the final scene of the movie and the ending credits. Then, just as your confusion has built to appropriate levels, things actually begin with videotaped interviews of all 22 members in an attempt to give you some semblance of character introduction. Shown on an older TV, the screen is surrounded by books and plays focused on ultra-negative philosophical views and subjects such as schizophrenia and suicide. So, despite the rather upbeat and optimistic responses of the prospective dancers, the tone is already being set for the madness that is about to commence.
From there we are taken to the big dance number. A ten-minute single shot involving the entire cast choreographed to 90’s EDM music. While this scene felt a little bit long, it did nearly as much to introduce the characters as the audition tapes shown earlier. Each dancer has a unique style and flair that executes a certain character development. Once the dance is complete it feels like the movie finally begins and the cast starts their post-rehearsal party. The soiree involves dancing (of course), drinking (homemade sangria) and some minor cocaine use. But it mostly consists of quick shots between different cast members taking part in some intergroup gossip. We are treated to one more (non-choreographed) dance scene with each individual showing their talents in a circle of their comrades, then we break again for more conversation. As the party continues on everyone starts to feel a little bit funny. They quickly deduce that the sangria has been spiked with LSD, but cannot determine who drugged them.
And this is where the hour-long journey into hell embarks from. The realization that they have been drugged seems to worry them very little, but does instantly turn them all against each other. The effects of the LSD ramp up rather quickly and as the cast members descend into madness the audience is treated to a myriad of trauma and depravity including: rape, incest, self-mutilation, child electrocution and an attempted abortion via a swift kick to the stomach. None of this should be any surprise to someone familiar with Noé’s work. But if this is your first experience with his particular brand of filmmaking, then be prepared to leave no perverted stone unturned.
One of the most impressive things about this film is how little preparation actually went into it. The entire film was shot in 15 days and edited to completion in only 3 months after that in order to meet the Cannes festival deadline. In addition, it was shot with a mere 5 pages of script. The majority of the film consists of both dancing and psychotic undulations inspired by web videos of people high on crack, ecstasy and acid which were hand-selected by Noé. So, despite the assumed need for structure that comes with extended tracking shots such as these, the whole movie is (surprisingly) mostly ad-libbed. Only the opening dance scene is choreographed with all of the remaining ones being the result of the how the dancers chose to express themselves through dance.
In the end you’ll be left wondering if all of the shock and awe that’s been served to you actually meant something, or if it was simply sensory overload for the sake of itself. And that’s where the movie really falls short. If Noé had meant for any sort of deeper meaning in this film, it was ultimately lost to extreme subtlety. I did my best to find the clever allegory here (French history and culture, biblical stories, etc.) and I admittedly fell short. “Birth is a unique opportunity. Life is an impossible collective. Death is an extraordinary experience,” read three title cards which flash throughout the journey of Climax. Although these sayings are poetic and beautiful, they seem to have little or loose application to the actual storyline.
The strongest feelings in this film are not evoked from any sort of meaning or fable-style lesson. They come from the distress and disgust brought about by the actions of the characters and, more so, the beautifully executed cinematography. Every filming technique meant to cause discomfort is present here including: long tracking shots, inverted imagery, black screen with nonlinear sounds and subliminal images. The application and combination of all of these effects means that much credit for this film should most likely go to Noé’s DP, Benoit Debie.
Fundamentally, the judgement for a Gaspar Noé film exists on a different scale than any other film. And while that concept can be new and exciting when the first shocking film debuts, you quickly realize that subsequent ones have to continue to push the boundaries that were originally broken. Otherwise you run the risk of becoming stale. We may have gotten to that point now with Noé. Climax brings very little new shock to the table for a director who has developed his reputation as a purveyor of wickedness. Those who attend this movie will be looking for him to push their horror to new levels, but will likely end up unfulfilled. Although the lack of a new frontier doesn’t remove all of the value for the film, Noé has made implicit promises through his other work which he has failed to deliver upon with Climax.
Kirk Bage (1775 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Mar 3, 2020
It took me over a month to get around to seeing this last night at the cinema. Not because I didn’t want to see the end of the new trilogy and say goodbye to it in style, but because I feared it just wouldn’t be very good. Put simply, it isn’t very good. Some parts, in fact, are downright awful. But it isn’t terrible either. I can’t say I hated it – I had fun; I enjoyed it for what it was, and some small moments in isolation were very well done indeed. However…
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.
Purple Phoenix Games (2266 KP) rated Lair in Tabletop Games
Feb 13, 2020
Raise your hand if you’ve ever dreamed of being a superhero – fighting crime and saving lives. Great! This game is not about that. Instead, embrace your inner villain as you work to create the greatest evil lair in the world! Dig deep and put your villainy to the test as you command Henchmen to build nefarious rooms and outmaneuver the other villains vying for power in this evil organization.
Lair is a worker placement game in which players are racing to complete the construction of a secret lair for their evil boss, Mr. White. Played over a series of rounds, players select turn order and command henchmen to construct new rooms, collect supplies, interfere with your competitors’ plans, or dig deeper into the volcano in which this lair is housed. The first player to reach the core of the volcano, thus completing the lair, is the winner!
Disclaimer: We were provided a copy of Lair for the purposes of this review. I do not intend to rehash the entire rulebook, but rather provide an overview of the rules and comment on the gameplay. For a more in-depth look at the rules, find the game at your FLGS or directly from the publisher! -L
To setup, place the foundation cards at the top of the table and then place 4 elevator cards in a single line underneath the center-most foundation card, and put the Core card at the bottom of the line. Flip the top elevator card, give each player their components (Player Card, Boss token, and 2 Henchmen tokens), create a room card pool, and you are ready to go! Choose the first player as described in the rule book. To start each round, players will choose turn order. All spaces in the turn order track offer different resources/rewards (collect Work Tokens, claim room cards, etc), so going first each turn might not necessarily be best for your strategy. Once turn order is established, players take turns moving 1 worker (either a Henchmen or Boss), and possibly performing the action of the room card to which they moved. Each move costs 1 Work Token, and is paid to the “bank.” In order to perform a room’s action, you must play your Boss token to that card, and there must be a Henchmen token already in the room. Here’s the catch – if the Henchmen token belongs to an opponent, you pay THEM 1 Work Token (instead of the bank) for having moved into a room that they have claimed. Do you want to use a room action enough to justify giving an opponent another Work Token to be used against you? Or can you rework your strategy to avoid using that action? Play continues in the round as long as players have Work Tokens to spend. Once you run out of actions, or choose to stop, you ‘retire’ and pass until the next round begins. There is an incentive to retiring early, though – the first player to retire in a round is the first player to choose their turn order in the next round. Play continues until one player has reached the final spot on the elevator track, the Core. The game immediately ends, and that player is the victor!
So how does Lair play? In my opinion, it’s a great little game. There is so much strategy involved for such a small game, and that is really what takes it to the next level for me. Let’s start with selecting turn order. In most games, this means vying for first dibs in the next round. In this game, however, each different turn order slot provides different resources/rewards. Depending on your strategy, you may really need that 3rd slot, or even the last one! So going first is not necessarily always the best thing in this game. You have to balance the risk of going later in the round with the reward of your chosen resources. The next strategic part of this game has to do with Henchmen placement. As I stated earlier, in order to use a room’s action, you must move your Boss to that card, and there must already be a Henchmen present. If the Henchmen belongs to an opponent, you pay them instead of the bank. This is vital because Work Tokens are what allow you to take turns, so paying an opponent means giving them a chance for another turn next round. Is it worth rewarding an opponent for use of a room action? On the flip side – can you strategically place your Henchmen to ensure that opponents have to pay you to complete their goals? The Boss may be in charge, but the Henchmen are the underdogs in this game for sure.
Components. The components are pretty good quality in this game. The cards are nice and thick, the art is thematic, and the wooden and cardboard tokens are sturdy. No complaints there. The only qualm that we had with Lair has to do with iconography. Every possible action has a corresponding symbol, and that is what is shown on the card. The downside is that there are so many symbols and icons, so there is a bit of a learning curve when it comes to playing Lair for the first time. To alleviate some of the confusion, the game comes with some nice reference cards, and the symbols do get easier to recognize with more plays. But just be warned: at first you may be a little confused with all of the symbology.
As you can see by our ratings, we kind of had mixed feelings about this one. For a game that seems so small and light, it actually has a lot of bulk to it. Between strategic choices and learning symbology, this might not be a game we can just pull out for a quick filler, but I think that it’s good enough to stand on its own. Sometimes physically smaller games can be overlooked, but don’t let the size fool you – Lair packs a punch. Purple Phoenix Games gives Lair a nefarious 12 / 18.
Lair is a worker placement game in which players are racing to complete the construction of a secret lair for their evil boss, Mr. White. Played over a series of rounds, players select turn order and command henchmen to construct new rooms, collect supplies, interfere with your competitors’ plans, or dig deeper into the volcano in which this lair is housed. The first player to reach the core of the volcano, thus completing the lair, is the winner!
Disclaimer: We were provided a copy of Lair for the purposes of this review. I do not intend to rehash the entire rulebook, but rather provide an overview of the rules and comment on the gameplay. For a more in-depth look at the rules, find the game at your FLGS or directly from the publisher! -L
To setup, place the foundation cards at the top of the table and then place 4 elevator cards in a single line underneath the center-most foundation card, and put the Core card at the bottom of the line. Flip the top elevator card, give each player their components (Player Card, Boss token, and 2 Henchmen tokens), create a room card pool, and you are ready to go! Choose the first player as described in the rule book. To start each round, players will choose turn order. All spaces in the turn order track offer different resources/rewards (collect Work Tokens, claim room cards, etc), so going first each turn might not necessarily be best for your strategy. Once turn order is established, players take turns moving 1 worker (either a Henchmen or Boss), and possibly performing the action of the room card to which they moved. Each move costs 1 Work Token, and is paid to the “bank.” In order to perform a room’s action, you must play your Boss token to that card, and there must be a Henchmen token already in the room. Here’s the catch – if the Henchmen token belongs to an opponent, you pay THEM 1 Work Token (instead of the bank) for having moved into a room that they have claimed. Do you want to use a room action enough to justify giving an opponent another Work Token to be used against you? Or can you rework your strategy to avoid using that action? Play continues in the round as long as players have Work Tokens to spend. Once you run out of actions, or choose to stop, you ‘retire’ and pass until the next round begins. There is an incentive to retiring early, though – the first player to retire in a round is the first player to choose their turn order in the next round. Play continues until one player has reached the final spot on the elevator track, the Core. The game immediately ends, and that player is the victor!
So how does Lair play? In my opinion, it’s a great little game. There is so much strategy involved for such a small game, and that is really what takes it to the next level for me. Let’s start with selecting turn order. In most games, this means vying for first dibs in the next round. In this game, however, each different turn order slot provides different resources/rewards. Depending on your strategy, you may really need that 3rd slot, or even the last one! So going first is not necessarily always the best thing in this game. You have to balance the risk of going later in the round with the reward of your chosen resources. The next strategic part of this game has to do with Henchmen placement. As I stated earlier, in order to use a room’s action, you must move your Boss to that card, and there must already be a Henchmen present. If the Henchmen belongs to an opponent, you pay them instead of the bank. This is vital because Work Tokens are what allow you to take turns, so paying an opponent means giving them a chance for another turn next round. Is it worth rewarding an opponent for use of a room action? On the flip side – can you strategically place your Henchmen to ensure that opponents have to pay you to complete their goals? The Boss may be in charge, but the Henchmen are the underdogs in this game for sure.
Components. The components are pretty good quality in this game. The cards are nice and thick, the art is thematic, and the wooden and cardboard tokens are sturdy. No complaints there. The only qualm that we had with Lair has to do with iconography. Every possible action has a corresponding symbol, and that is what is shown on the card. The downside is that there are so many symbols and icons, so there is a bit of a learning curve when it comes to playing Lair for the first time. To alleviate some of the confusion, the game comes with some nice reference cards, and the symbols do get easier to recognize with more plays. But just be warned: at first you may be a little confused with all of the symbology.
As you can see by our ratings, we kind of had mixed feelings about this one. For a game that seems so small and light, it actually has a lot of bulk to it. Between strategic choices and learning symbology, this might not be a game we can just pull out for a quick filler, but I think that it’s good enough to stand on its own. Sometimes physically smaller games can be overlooked, but don’t let the size fool you – Lair packs a punch. Purple Phoenix Games gives Lair a nefarious 12 / 18.
Ivana A. | Diary of Difference (1171 KP) rated Romanov in Books
Oct 5, 2020
From the author of Fawkes comes a magical take on the story of Anastasia Romanov.
The history books say I died.
They don’t know the half of it.
Ever since I read Fawkes, I knew I loved Nadine’s writing, and when Romanov was announced, I couldn’t be happier. As I have spend my childhood and young adult life in the Balkans, whilst travelling across Europe, I have always admired Russia, and always enjoyed reading all the theories about the Romanov family.
As a child I would be told stories and fairy tales, I would watch the Disney adaptation of Anastasia, and as I was growing up, I would read history books and fiction on this very subject. When I got my hands on ‘’Romanov’’, I knew I would be up for an adventure, with lots of expectations, but what I never knew was that I would be blown away of how beautiful this book is!
This book is split into two main parts, before and after the Romanov’s execution, but it is also split into the first being the historical part, and the second being the fictional part. Both parts of the book are quite intense, and very different emotions come up to surface, but they are both very powerful throughout, and fitted together quite well.
In the first part, we are introduced to the Romanov family, and how they are kept as hostages by the Bolsheviks. It would’ve been much better if we had more details on the pre-hostage period, why the revolution began, why the king abducted the throne, who are the Bolsheviks and what they believed in. The book starts in the middle of this whole situation, and whilst I knew the beginning before, I am certain a lot of people wouldn’t have.
The history, as much accurate as it was, also had a personalized feeling that the author wanted to give. I have to admit, a lot of the details, especially around the family were quite accurate. The family did stick together and loved each other, they did have secrets and they did make friends with their captors. Anastasia’s brother did indeed had hemophilia and Rasputin was allegedly helping him. However, the author decided to put her personal feelings into the history as well. The king is presented as a wonderful leader that cares about the people. I understand that we see this story from Anastasia’s point of view, and as his daughter, she is supposed to see her father as the best figure in the world. But I still believe this part should be more objective, if not from Anastasia’s point of view, then at least by the king’s actions and dialogues. The other big element that bothered me was the portrayal of Rasputin. He is shown in this book as a family helper and a kind man, when in fact, he was far from that. In the history books, he is described as a madman, a creepy person, and the king was not happy of him coming in the house. The family’s secrecy and the queen’s silent domination over the king, together with Rasputin’s doings were the start of the revolution, and I believe that it one of the required truths that this books should have included, but didn’t. And that troubled me.
On top of this, is the Russian language used throughout this book. There were a lot of spelling errors, and misinterpretations. And whilst I can understand these words, many people can’t, and translation wasn’t provided in the book. Also, I really found this quote interesting, talking about the Russian culture, and how they don’t show emotions. Just a note – this is most of the time true, people won’t be nice to strangers, but actually, Russian people are quite friendly and emotional as well.
‘’We Russians weren’t required to share any amount of emotion we didn’t want to.’’
Apart from these few things that slightly bothered me, I really enjoyed this book. Anastasia is an amazing character, and through her we can see her love towards her family, her country, and even towards the people that wish her harm. We get to see her love, cry, be hurt, be afraid, forgive, and grow throughout the book, and her journey was magical.
‘’As I lay in the grass next to the spell that could rid me of heart pain, I realized that a part of forgiveness was accepting the things someone had done – and the pain that came with that – and moving on with love. Forgiveness was a personal battle that must always be fought in my heart.’’
I loved the beginning of the book the most. The setting was well-written, and I got the feel the same way as the Romanov family did. They tried to act as if everything was normal, when in fact, they were held captive, and moved out of their home. They weren’t allowed to go out in the garden often, and when they did have this opportunity, they enjoyed every single second of it. And they all had hope every single day. They kept smiling and stayed together.
There are number of scenes that will always stay close to my heart – the relationship between Zash and Anastasia (as unrealistic as it might be), always kept me on my toes, his desperation, and his guilt, and her ability to forgive and love regardless.
The brother’s illness, and his persistence through it. His motivation and his will to never give up. The love he holds for his family, and especially his sister Anastasia, and the toughness and not letting go. A few scenes were unrealistic with him, as I hardly believe anyone suffering from hemophilia can survive all those injuries mentioned in the book and the pools of blood, but above all – this character did achieve what he was meant to do – show hope where there is none.
A wonderful and magical tale, with a history behind it of a mysterious family, especially their end – this book brought tears on my eyes and made me think about the power of forgiveness and love. A true masterpiece.
Thank you to Nadine Brandes, for letting me be a part of her Ninja Team.
The history books say I died.
They don’t know the half of it.
Ever since I read Fawkes, I knew I loved Nadine’s writing, and when Romanov was announced, I couldn’t be happier. As I have spend my childhood and young adult life in the Balkans, whilst travelling across Europe, I have always admired Russia, and always enjoyed reading all the theories about the Romanov family.
As a child I would be told stories and fairy tales, I would watch the Disney adaptation of Anastasia, and as I was growing up, I would read history books and fiction on this very subject. When I got my hands on ‘’Romanov’’, I knew I would be up for an adventure, with lots of expectations, but what I never knew was that I would be blown away of how beautiful this book is!
This book is split into two main parts, before and after the Romanov’s execution, but it is also split into the first being the historical part, and the second being the fictional part. Both parts of the book are quite intense, and very different emotions come up to surface, but they are both very powerful throughout, and fitted together quite well.
In the first part, we are introduced to the Romanov family, and how they are kept as hostages by the Bolsheviks. It would’ve been much better if we had more details on the pre-hostage period, why the revolution began, why the king abducted the throne, who are the Bolsheviks and what they believed in. The book starts in the middle of this whole situation, and whilst I knew the beginning before, I am certain a lot of people wouldn’t have.
The history, as much accurate as it was, also had a personalized feeling that the author wanted to give. I have to admit, a lot of the details, especially around the family were quite accurate. The family did stick together and loved each other, they did have secrets and they did make friends with their captors. Anastasia’s brother did indeed had hemophilia and Rasputin was allegedly helping him. However, the author decided to put her personal feelings into the history as well. The king is presented as a wonderful leader that cares about the people. I understand that we see this story from Anastasia’s point of view, and as his daughter, she is supposed to see her father as the best figure in the world. But I still believe this part should be more objective, if not from Anastasia’s point of view, then at least by the king’s actions and dialogues. The other big element that bothered me was the portrayal of Rasputin. He is shown in this book as a family helper and a kind man, when in fact, he was far from that. In the history books, he is described as a madman, a creepy person, and the king was not happy of him coming in the house. The family’s secrecy and the queen’s silent domination over the king, together with Rasputin’s doings were the start of the revolution, and I believe that it one of the required truths that this books should have included, but didn’t. And that troubled me.
On top of this, is the Russian language used throughout this book. There were a lot of spelling errors, and misinterpretations. And whilst I can understand these words, many people can’t, and translation wasn’t provided in the book. Also, I really found this quote interesting, talking about the Russian culture, and how they don’t show emotions. Just a note – this is most of the time true, people won’t be nice to strangers, but actually, Russian people are quite friendly and emotional as well.
‘’We Russians weren’t required to share any amount of emotion we didn’t want to.’’
Apart from these few things that slightly bothered me, I really enjoyed this book. Anastasia is an amazing character, and through her we can see her love towards her family, her country, and even towards the people that wish her harm. We get to see her love, cry, be hurt, be afraid, forgive, and grow throughout the book, and her journey was magical.
‘’As I lay in the grass next to the spell that could rid me of heart pain, I realized that a part of forgiveness was accepting the things someone had done – and the pain that came with that – and moving on with love. Forgiveness was a personal battle that must always be fought in my heart.’’
I loved the beginning of the book the most. The setting was well-written, and I got the feel the same way as the Romanov family did. They tried to act as if everything was normal, when in fact, they were held captive, and moved out of their home. They weren’t allowed to go out in the garden often, and when they did have this opportunity, they enjoyed every single second of it. And they all had hope every single day. They kept smiling and stayed together.
There are number of scenes that will always stay close to my heart – the relationship between Zash and Anastasia (as unrealistic as it might be), always kept me on my toes, his desperation, and his guilt, and her ability to forgive and love regardless.
The brother’s illness, and his persistence through it. His motivation and his will to never give up. The love he holds for his family, and especially his sister Anastasia, and the toughness and not letting go. A few scenes were unrealistic with him, as I hardly believe anyone suffering from hemophilia can survive all those injuries mentioned in the book and the pools of blood, but above all – this character did achieve what he was meant to do – show hope where there is none.
A wonderful and magical tale, with a history behind it of a mysterious family, especially their end – this book brought tears on my eyes and made me think about the power of forgiveness and love. A true masterpiece.
Thank you to Nadine Brandes, for letting me be a part of her Ninja Team.
Lottie disney bookworm (1056 KP) rated What Once Was Mine in Books
Oct 25, 2021
𝑾𝒉𝒂𝒕 𝒊𝒇 𝑹𝒂𝒑𝒖𝒏𝒛𝒆𝒍’𝒔 𝒎𝒐𝒕𝒉𝒆𝒓 𝒅𝒓𝒂𝒏𝒌 𝒂 𝒑𝒐𝒕𝒊𝒐𝒏 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒘𝒓𝒐𝒏𝒈 𝒇𝒍𝒐𝒘𝒆𝒓?
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
Mothergamer (1562 KP) rated the PlayStation 3 version of Catherine in Video Games
Apr 3, 2019
First of all, let me say that while I know a lot of you love Atlus games as much as I do, Catherine is not a typical video game. In fact, it is a sliding block puzzle game with a great story woven in. If you're not big on puzzle games, Catherine may not be the video game for you. However, if you genuinely enjoy challenging puzzles and are a puzzle game addict like myself, Catherine definitely gives you your money's worth.
Catherine is much more than a puzzle game however. The story is definitely what brings everything together. It addresses adult situations, things that people go through or suffer such as, fear of commitment, infidelity, and about how some people are childish and won't take responsibility for their actions. It's a unique title and simply an adult video game because it involves adult situations and the issues we have as we get older.
The story centers around Vincent Brooks who has a girlfriend by the name of Katherine. They're both in their early thirties and Katherine's biological clock is ticking which she hints at to him by telling him her mother has asked where the relationship is going. Vincent isn't sure he's ready for that level of commitment yet and says as much to his buddies he hangs out with at the local bar.
One night while hanging out at the bar mulling over a sliding block nightmare he had the night before, he runs into a beautiful blonde bombshell by the name of Catherine. Apparently after blacking out, he wakes up after another nightmare to find that she has spent the night. Of course, Vincent freaks out completely. Now, Vincent has to make a choice between lust and love, have good times with Catherine or finally make a commitment to Katherine.
Vincent's nightmares continue and even worse, people actually seem to be dying in them.Healthy men in their twenties and thirties are found dead in their beds and there seems to be no reason for it. A rumor goes around that it is a woman cursing all these men for being unfaithful. Is the rumor true? Vincent has to find out, climbing for his life one nightmare at a time.
Vincent Brooks In His Nightmare
Vincent's nightmares are the heart and soul of the puzzle sections. Every night, he wakes up surrounded by sheep, with horns growing out of his head and a voice taunting him to come up. There are items along the way that help you with the puzzles, but many obstacles as well involving sheep that are trying to climb also as the world crumbles behind them. You have a reason to climb, survival and the inner demons Vincent is struggling with. If you don't climb, you die. One example of this is, there's a giant monster version of Vincent's girlfriend Katherine, trying to grab him and smash the heck out of him. If Vincent's not quick enough to climb all those blocks to the top, he will surely die.
Every night, there's a different puzzle with each nightmare and depending on how quickly you get to the top and how many points you get, you can win gold, silver, or bronze trophies. The complexity of the puzzles is very interesting and the story is well written and captures your attention perfectly. It sounds silly, but you actually feel a sense of accomplishment when you have figured out a rather difficult puzzle.
Solve The Puzzle Or Die Trying
This brings up the next point. Some of the puzzles in Catherine will make you want to punch every living thing in your path. The difficulty level is excruciatingly high on a variety of them. There's no shame in playing a game on the Easy level. I know I will try a game on Easy first, to get a feel for the controls, to see how well the game plays, and to have a chance to genuinely enjoy the story that is being told. Then I will play again working on all the achievements and trophies, and improving my game scores. This is what I did with Catherine and some of those puzzles made me want to punch whoever designed it right in the face. A challenge is all well and good and definitely in a puzzle game, but when the game is on the Easy setting and it's still making you weep bitter tears of defeat, that is a big problem. Don't believe me? Apparently the difficulty level was such a destroyer of worlds, that the Japanese gamers complained about it. Frankly, that said quite a lot to me about how high Atlus raised the bar on these puzzles. The complaints were so many, that Atlus promised to put a patch in that would make the game much less difficult on Easy. I do understand their reasoning that they wanted the game to be challenging, so that players could reap huge rewards when they solved a puzzle, but the Easy setting in a game should be just that, easy and not throw people into the deep end with a sink or swim attitude. That's what the Hard and Nightmare settings are for.
However, there is hope! There is a secret trick to get to a Very Easy mode. It's a secret that Atlus put in to make the game a cake walk for players. When you access the main menu of the game, highlight Golden Playhouse and hold the back or select button for a few seconds. The screen will flash with a prompt telling you Very Easy mode has been activated. From there, the puzzles are much easier, and you can actually enjoy the story without those resentful feelings and frustration. It is a nice touch, and I give kudos to Atlus for caring enough about fans of their games to put it in there, because they do want people to enjoy the game.
Overalll, the game is great. The story is well thought out and acted out well with a great voice cast. There are also interesting characters that Vincent meets in the bar and can talk to, even help them with their issues. There is also a fun mini game in Catherine, called Rapunzel that is a sliding block puzzle game also that gives you pretty good rewards when you beat all the levels, along with opportunities to unlock music from various Atlus games and the Catherine game to play on the jukebox in the bar.
I have always loved the artwork in Atlus video games and Catherine is no exception. Right down to the animated short cut scenes, everything is colorful, seamless, and you really appreciate how everything ties together. The music, the voice cast, and the game play all mesh into a fantastic video game. Catherine is definitely a game worth having in any gaming enthusiast's collection and absolutely worth playing more than once.
Catherine is much more than a puzzle game however. The story is definitely what brings everything together. It addresses adult situations, things that people go through or suffer such as, fear of commitment, infidelity, and about how some people are childish and won't take responsibility for their actions. It's a unique title and simply an adult video game because it involves adult situations and the issues we have as we get older.
The story centers around Vincent Brooks who has a girlfriend by the name of Katherine. They're both in their early thirties and Katherine's biological clock is ticking which she hints at to him by telling him her mother has asked where the relationship is going. Vincent isn't sure he's ready for that level of commitment yet and says as much to his buddies he hangs out with at the local bar.
One night while hanging out at the bar mulling over a sliding block nightmare he had the night before, he runs into a beautiful blonde bombshell by the name of Catherine. Apparently after blacking out, he wakes up after another nightmare to find that she has spent the night. Of course, Vincent freaks out completely. Now, Vincent has to make a choice between lust and love, have good times with Catherine or finally make a commitment to Katherine.
Vincent's nightmares continue and even worse, people actually seem to be dying in them.Healthy men in their twenties and thirties are found dead in their beds and there seems to be no reason for it. A rumor goes around that it is a woman cursing all these men for being unfaithful. Is the rumor true? Vincent has to find out, climbing for his life one nightmare at a time.
Vincent Brooks In His Nightmare
Vincent's nightmares are the heart and soul of the puzzle sections. Every night, he wakes up surrounded by sheep, with horns growing out of his head and a voice taunting him to come up. There are items along the way that help you with the puzzles, but many obstacles as well involving sheep that are trying to climb also as the world crumbles behind them. You have a reason to climb, survival and the inner demons Vincent is struggling with. If you don't climb, you die. One example of this is, there's a giant monster version of Vincent's girlfriend Katherine, trying to grab him and smash the heck out of him. If Vincent's not quick enough to climb all those blocks to the top, he will surely die.
Every night, there's a different puzzle with each nightmare and depending on how quickly you get to the top and how many points you get, you can win gold, silver, or bronze trophies. The complexity of the puzzles is very interesting and the story is well written and captures your attention perfectly. It sounds silly, but you actually feel a sense of accomplishment when you have figured out a rather difficult puzzle.
Solve The Puzzle Or Die Trying
This brings up the next point. Some of the puzzles in Catherine will make you want to punch every living thing in your path. The difficulty level is excruciatingly high on a variety of them. There's no shame in playing a game on the Easy level. I know I will try a game on Easy first, to get a feel for the controls, to see how well the game plays, and to have a chance to genuinely enjoy the story that is being told. Then I will play again working on all the achievements and trophies, and improving my game scores. This is what I did with Catherine and some of those puzzles made me want to punch whoever designed it right in the face. A challenge is all well and good and definitely in a puzzle game, but when the game is on the Easy setting and it's still making you weep bitter tears of defeat, that is a big problem. Don't believe me? Apparently the difficulty level was such a destroyer of worlds, that the Japanese gamers complained about it. Frankly, that said quite a lot to me about how high Atlus raised the bar on these puzzles. The complaints were so many, that Atlus promised to put a patch in that would make the game much less difficult on Easy. I do understand their reasoning that they wanted the game to be challenging, so that players could reap huge rewards when they solved a puzzle, but the Easy setting in a game should be just that, easy and not throw people into the deep end with a sink or swim attitude. That's what the Hard and Nightmare settings are for.
However, there is hope! There is a secret trick to get to a Very Easy mode. It's a secret that Atlus put in to make the game a cake walk for players. When you access the main menu of the game, highlight Golden Playhouse and hold the back or select button for a few seconds. The screen will flash with a prompt telling you Very Easy mode has been activated. From there, the puzzles are much easier, and you can actually enjoy the story without those resentful feelings and frustration. It is a nice touch, and I give kudos to Atlus for caring enough about fans of their games to put it in there, because they do want people to enjoy the game.
Overalll, the game is great. The story is well thought out and acted out well with a great voice cast. There are also interesting characters that Vincent meets in the bar and can talk to, even help them with their issues. There is also a fun mini game in Catherine, called Rapunzel that is a sliding block puzzle game also that gives you pretty good rewards when you beat all the levels, along with opportunities to unlock music from various Atlus games and the Catherine game to play on the jukebox in the bar.
I have always loved the artwork in Atlus video games and Catherine is no exception. Right down to the animated short cut scenes, everything is colorful, seamless, and you really appreciate how everything ties together. The music, the voice cast, and the game play all mesh into a fantastic video game. Catherine is definitely a game worth having in any gaming enthusiast's collection and absolutely worth playing more than once.
KittyMiku (138 KP) rated Her Last Goodbye in Books
May 23, 2019
Contains spoilers, click to show
As with any mystery, it is amazing to have that suspense with a tad bit of danger. After all, the excitement is in the wondering who did what and what may have caused an event to happen. However, Her Last Goodbye is more than just that. It allows the reader to see into some of the worries and dangers it is to be a parent, how romance can lead to vulnerable states of mind (which we all know can lead to some acts of intimacy), as well as how some people have some complicated views on how a relationship should work. It was even more shocking and terrifyingly real than the first book in the Morgan Dane series. I found myself ridden with anxiety, fear, and concern through out the book. Having so many difficult situations to have to sort through and ideas, I found this book hard to put down, even when it got too intense to keep reading at the moment.
First of all, Morgan having three children is always nice to see. With her concern about her children's livelihood always about her, it wasn't hard for her to connect with the missing woman, Chelsea, who was a mother of 2 small children, and how she wasn't likely to leave her children that she adored so much. It was, however, rough for her to try to come up with clues and facts to prove that the woman just didn't run away from her family. To see Morgan struggle through that idea and then to end up having her own children threatened on multiple occasions by a variety of men, only made things worse. I found those parts exceptionally hard to read. Having a child myself, I don't think I would have been as rational or as brave as she was. Just the thought of the things she went through and the ideas of a mother just abandoning her children, has me shaken. Even though, as stated in the book, mothers sometimes do strange things like that, it still isn't easy to process or understand. Then to watch a mother go into Mama Bear mode to protect her own, kept my own mind whirling. I like to think I would do anything to protect my daughter, but my own problem with conflict would have been enough to make sure I got out of whatever situation that would put me in that rough spot. It had fuel Morgan even more though. She pushed harder to find and get rid of the person behind her own children's danger. This only makes her even more loveable. It is actually inspiring to have such a strong woman character, who would do anything to protect her loved ones. I can't help but feel more drawn to her in this book, and I feel that my admiration and love for her will grow in the future. Even so, I still found a lot of other disturbing things within the story.
We all know that there are people out there who believe women should be completely submissive to men, but it was still really hard to read and stomach a character who had this belief. To kidnap, condition, and even train another person seems extremely harsh, yet a they existed. I found it harder to read how they would torture another human being to break their mind and their spirit, just to train a woman to think and be something they weren't. Especially when said person was supposedly in love with their prey. I did find it inspiring on how, even being tortured, a woman can overcome it and try to escape and get back to her family. In fact, the thought of her family propelled her and kept her trying to get back home. It really made me happy to see that family was her motivation. Though, it was rough to get through, it made me wonder how many women could go through what she had and still find the courage and strength to keep trying to figure out a way to escape and get home. Even though, it was clear she was traumatized, it was clear she was more concerned with getting home to her children than how she could be caught and tortured and punished for trying. I found this to be a pleasant idea to have about someone who was captured. After all, wouldn't you end up within just a few days of being hurt over and over, give up and just conform to whoever was trying to condition you was ways? I probably would have. But this woman character definitely shed some light how nothing else mattered where your family is concern.
I found how strong feelings for someone and their family can really change how you view things to be a nice delight. I hadn't expected Lance to end up falling for Morgan's children the way he did to happen. It had been hinted that he loved and wanted a relationship with Morgan, but to see him fall in love with her girls and want to protect them as much as Morgan did, was really a pleasant sight. I know there are men out there like that, but its still rare and to see how his love for Morgan ends up extending to her children was just the right about of sentiment and love the book need to keeps things from going overboard. I enjoyed how he tried his best to make sure her girls were safe and even let them into his house to keep them protected, to be exhilarating and touching. It is always nice to have some wholesome love and concern to help break up some of the tension in a storyline and Leigh's way of adding this to Lance's character was a nice call. It helped keep the danger presented while showing a parental side to Lance and offering up how your friends and potential lover's can easily adore your children as much as you do.
Overall, I would rate Melinda Leigh's Her Last Goodbye 5 stars out of 5 stars for how well written and emotional filled the book was. It could stand alone as it gives refreshers on what happened in the last book, as well as had its own storyline. Though, the character developments increased and they continued to grow through out the story, the reader wouldn't feel like they missed a whole lot by reading this book first. I have to say that has to be something that is delightful. After all, wouldn't is just bite if you had to read the first book to even think about picking up the second. Sometimes you don't always realize what you are grabbing and having a series that has books that could stand alone if they needed to, makes it so much easier to start by whatever book you happen to pick up first. I definitely recommend this book to all our thrill seekers. Its not for the faint of heart, but is still extremely excellent to read.
First of all, Morgan having three children is always nice to see. With her concern about her children's livelihood always about her, it wasn't hard for her to connect with the missing woman, Chelsea, who was a mother of 2 small children, and how she wasn't likely to leave her children that she adored so much. It was, however, rough for her to try to come up with clues and facts to prove that the woman just didn't run away from her family. To see Morgan struggle through that idea and then to end up having her own children threatened on multiple occasions by a variety of men, only made things worse. I found those parts exceptionally hard to read. Having a child myself, I don't think I would have been as rational or as brave as she was. Just the thought of the things she went through and the ideas of a mother just abandoning her children, has me shaken. Even though, as stated in the book, mothers sometimes do strange things like that, it still isn't easy to process or understand. Then to watch a mother go into Mama Bear mode to protect her own, kept my own mind whirling. I like to think I would do anything to protect my daughter, but my own problem with conflict would have been enough to make sure I got out of whatever situation that would put me in that rough spot. It had fuel Morgan even more though. She pushed harder to find and get rid of the person behind her own children's danger. This only makes her even more loveable. It is actually inspiring to have such a strong woman character, who would do anything to protect her loved ones. I can't help but feel more drawn to her in this book, and I feel that my admiration and love for her will grow in the future. Even so, I still found a lot of other disturbing things within the story.
We all know that there are people out there who believe women should be completely submissive to men, but it was still really hard to read and stomach a character who had this belief. To kidnap, condition, and even train another person seems extremely harsh, yet a they existed. I found it harder to read how they would torture another human being to break their mind and their spirit, just to train a woman to think and be something they weren't. Especially when said person was supposedly in love with their prey. I did find it inspiring on how, even being tortured, a woman can overcome it and try to escape and get back to her family. In fact, the thought of her family propelled her and kept her trying to get back home. It really made me happy to see that family was her motivation. Though, it was rough to get through, it made me wonder how many women could go through what she had and still find the courage and strength to keep trying to figure out a way to escape and get home. Even though, it was clear she was traumatized, it was clear she was more concerned with getting home to her children than how she could be caught and tortured and punished for trying. I found this to be a pleasant idea to have about someone who was captured. After all, wouldn't you end up within just a few days of being hurt over and over, give up and just conform to whoever was trying to condition you was ways? I probably would have. But this woman character definitely shed some light how nothing else mattered where your family is concern.
I found how strong feelings for someone and their family can really change how you view things to be a nice delight. I hadn't expected Lance to end up falling for Morgan's children the way he did to happen. It had been hinted that he loved and wanted a relationship with Morgan, but to see him fall in love with her girls and want to protect them as much as Morgan did, was really a pleasant sight. I know there are men out there like that, but its still rare and to see how his love for Morgan ends up extending to her children was just the right about of sentiment and love the book need to keeps things from going overboard. I enjoyed how he tried his best to make sure her girls were safe and even let them into his house to keep them protected, to be exhilarating and touching. It is always nice to have some wholesome love and concern to help break up some of the tension in a storyline and Leigh's way of adding this to Lance's character was a nice call. It helped keep the danger presented while showing a parental side to Lance and offering up how your friends and potential lover's can easily adore your children as much as you do.
Overall, I would rate Melinda Leigh's Her Last Goodbye 5 stars out of 5 stars for how well written and emotional filled the book was. It could stand alone as it gives refreshers on what happened in the last book, as well as had its own storyline. Though, the character developments increased and they continued to grow through out the story, the reader wouldn't feel like they missed a whole lot by reading this book first. I have to say that has to be something that is delightful. After all, wouldn't is just bite if you had to read the first book to even think about picking up the second. Sometimes you don't always realize what you are grabbing and having a series that has books that could stand alone if they needed to, makes it so much easier to start by whatever book you happen to pick up first. I definitely recommend this book to all our thrill seekers. Its not for the faint of heart, but is still extremely excellent to read.
Dana (24 KP) rated Vanishing Girls in Books
Mar 23, 2018
I am not sure why I keep being surprised at how good books are, especially since I have read some of these authors before! This book is no different. I was thinking this book would be just okay, nothing too memorable, but I was so wrong! Oh, and I got to meet Lauren Oliver at Yallwest 2015! She was so sweet and signed my book!!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
The Marinated Meeple (1853 KP) Jun 13, 2019
Purple Phoenix Games (2266 KP) Jun 13, 2019