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Hazel (1853 KP) rated Red Rising in Books
May 30, 2017
Mildly boring
This eBook was provided by the publisher via NetGalley in exchange for an honest review
Red Rising by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike The Hunger Games Trilogy by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. Red Rising suddenly becomes Hunger Games-esque and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about Red Rising was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realises that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of Red Rising. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
Red Rising by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike The Hunger Games Trilogy by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. Red Rising suddenly becomes Hunger Games-esque and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about Red Rising was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realises that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of Red Rising. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
Sophia (Bookwyrming Thoughts) (530 KP) rated Cruel Beauty in Books
Jan 23, 2020
I'm a sucker for fairy tales. I love retellings, myths, anything that's a complete spin from a well-known tale. I'm curious as to what authors come up with – problem is, Sleeping Beauty and Snow White needs a major upgrade or I might mentally blow a gasket one day. I promise it won't be pretty. No rants involved. Maybe a post about diversity in fairy tales instead (don't you take that post idea if no one's come up with it before o_o).
Well, Cruel Beauty is the cruel version of our beloved Disney characters. At least, that's what I thought at the very end. It's also got mythology, in which some I researched and learned new things (verification purposes). About time I'm not staring at what I learned in middle school/early high school over and over again.
Truth is, I enjoyed the concept of Cruel Beauty, but I didn't really enjoy the story... not too much. What originally caught my attention was the very fact that "Belle" is destined to marry the "Beast" ever since she was young due to a bargain her father made (reminds me of another story I can't think of currently). What I thought was even more interesting is how Rosamund Hodge bases the novel on ancient civilizations and mythology, particularly Pandora's box. Actually, I thought it was genius. I also think I've spoken too much about the book with those two words.
What started to lose my attention was this particular sentence... when Nyx – "Belle" of the story – is first married to the Gentle Lord – "Beast" of the story – and makes her entrance into his castle.
<blockquote>“I’m here!” I shouted. “Your bride! Congratulations on your marriage!”</blockquote>
I was like, really? THAT'S how you would make your entrance inside a demon's castle? Me, I would actually start plotting ways OUT of the castle, ways to avoid the Gentle Lord, etc. etc. NOT announcing, "Oh hey! I'm here! Come and feast on me!" *waves big sign*
And the Gentle Lord, no matter how much I like his humor, made a very unimpressive entrance.
<blockquote>In one moment I realized that what tickled my neck was a tuft of black hair, the blankets were a warm body, and the Gentle Lord was draped over me like a lazy cat, his head resting on my shoulder.</blockquote>
His reason?
<blockquote>“I got so bored waiting that I fell asleep too."</blockquote>
And...
<blockquote>“You were a good pillow."</blockquote>
DUDE. Sleeping on your bride when you first meet her even though you're now married? What an impressive husband you make. He could have slept next to her and not on top of her. You know, if a stranger – homeless or not – slept on top of me, I may kick said person's butt until they get off and call it self defense. I suppose some are now worried about my future. I'm completely surprised Nyx didn't mention that he was heavy, sleeping on top of her like that. Instead, this is her response shortly after:
<blockquote>“I’m sorry ,” I said, staring at the floor. “I just, my father made me promise to bring a knife, and— and—” I stuttered, acutely aware that I was half-naked in front of him. “I’m your wife! I burn for your touch! I thirst for your love!”</blockquote>
No offense, but that was so cheesy, it was bleeping hilarious. It's really obvious later from the Gentle Lord's constant mocking that Nyx should just act like herself and not the way her family wants her to act, but Nyx is completely oblivious.
Nyx, in a nutshell, is just the darker version of Belle. The semi-evil twin of Belle I may say, and it's no wonder she's named after the Greek goddess of the Night.
<blockquote>But I was a girl who had broken her sister’s heart and— for a moment— liked it. I had left somebody in torment and liked it.</blockquote>
Rosamund Hodge also implies that Nyx is well... a bit indecisive. In a conflict is more accurate. She wants to please her family – to fit in and meet up to her father's expectations even though he prefers her sister Astraia. Yet at the same time, she doesn't want to kill Ignite or whatever the Gentle Lord calls himself (the book was an e-loan and I'm basing this review off of my notes because I'm too lazy to jump on the hold list yet again) because she's in love with him. I suppose it makes sense in a way, since she wants to go with her emotions yet she's been trained her entire life to kill this one evil guy who isn't actually evil...
<blockquote>“Of course he’s evil and unforgivable.” My voice felt like it was coming from the far end of a long tunnel. “But he is the only reason I ever honored Mother with a clean heart. And if I hadn’t learnt to be kind with him, I would never have come back to beg your forgiveness and choose you over him. So gloat all you want— you deserve to watch us both suffer— but don’t you dare say I will ever be free of him. Every kindness I show you, all the rest of your life, that’s because of him. And no matter how many times I betray him, I will love him still.” </blockquote>
I mean, Nyx is living with the Gentle Lord. She could have just made her decision to live with him always and never guess his name, right?
Cruel Beauty, as much as I like the entire idea behind it, is not one of those fairy tales I find very impressive. It's very much one of those books that I roll my eyes at, especially at how the romance played out (just because I never dated a soul doesn't mean I can't tell).
------------------------
Original Rating: 3.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/review-cruel-beauty-by-rosamund-hodge.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
Well, Cruel Beauty is the cruel version of our beloved Disney characters. At least, that's what I thought at the very end. It's also got mythology, in which some I researched and learned new things (verification purposes). About time I'm not staring at what I learned in middle school/early high school over and over again.
Truth is, I enjoyed the concept of Cruel Beauty, but I didn't really enjoy the story... not too much. What originally caught my attention was the very fact that "Belle" is destined to marry the "Beast" ever since she was young due to a bargain her father made (reminds me of another story I can't think of currently). What I thought was even more interesting is how Rosamund Hodge bases the novel on ancient civilizations and mythology, particularly Pandora's box. Actually, I thought it was genius. I also think I've spoken too much about the book with those two words.
What started to lose my attention was this particular sentence... when Nyx – "Belle" of the story – is first married to the Gentle Lord – "Beast" of the story – and makes her entrance into his castle.
<blockquote>“I’m here!” I shouted. “Your bride! Congratulations on your marriage!”</blockquote>
I was like, really? THAT'S how you would make your entrance inside a demon's castle? Me, I would actually start plotting ways OUT of the castle, ways to avoid the Gentle Lord, etc. etc. NOT announcing, "Oh hey! I'm here! Come and feast on me!" *waves big sign*
And the Gentle Lord, no matter how much I like his humor, made a very unimpressive entrance.
<blockquote>In one moment I realized that what tickled my neck was a tuft of black hair, the blankets were a warm body, and the Gentle Lord was draped over me like a lazy cat, his head resting on my shoulder.</blockquote>
His reason?
<blockquote>“I got so bored waiting that I fell asleep too."</blockquote>
And...
<blockquote>“You were a good pillow."</blockquote>
DUDE. Sleeping on your bride when you first meet her even though you're now married? What an impressive husband you make. He could have slept next to her and not on top of her. You know, if a stranger – homeless or not – slept on top of me, I may kick said person's butt until they get off and call it self defense. I suppose some are now worried about my future. I'm completely surprised Nyx didn't mention that he was heavy, sleeping on top of her like that. Instead, this is her response shortly after:
<blockquote>“I’m sorry ,” I said, staring at the floor. “I just, my father made me promise to bring a knife, and— and—” I stuttered, acutely aware that I was half-naked in front of him. “I’m your wife! I burn for your touch! I thirst for your love!”</blockquote>
No offense, but that was so cheesy, it was bleeping hilarious. It's really obvious later from the Gentle Lord's constant mocking that Nyx should just act like herself and not the way her family wants her to act, but Nyx is completely oblivious.
Nyx, in a nutshell, is just the darker version of Belle. The semi-evil twin of Belle I may say, and it's no wonder she's named after the Greek goddess of the Night.
<blockquote>But I was a girl who had broken her sister’s heart and— for a moment— liked it. I had left somebody in torment and liked it.</blockquote>
Rosamund Hodge also implies that Nyx is well... a bit indecisive. In a conflict is more accurate. She wants to please her family – to fit in and meet up to her father's expectations even though he prefers her sister Astraia. Yet at the same time, she doesn't want to kill Ignite or whatever the Gentle Lord calls himself (the book was an e-loan and I'm basing this review off of my notes because I'm too lazy to jump on the hold list yet again) because she's in love with him. I suppose it makes sense in a way, since she wants to go with her emotions yet she's been trained her entire life to kill this one evil guy who isn't actually evil...
<blockquote>“Of course he’s evil and unforgivable.” My voice felt like it was coming from the far end of a long tunnel. “But he is the only reason I ever honored Mother with a clean heart. And if I hadn’t learnt to be kind with him, I would never have come back to beg your forgiveness and choose you over him. So gloat all you want— you deserve to watch us both suffer— but don’t you dare say I will ever be free of him. Every kindness I show you, all the rest of your life, that’s because of him. And no matter how many times I betray him, I will love him still.” </blockquote>
I mean, Nyx is living with the Gentle Lord. She could have just made her decision to live with him always and never guess his name, right?
Cruel Beauty, as much as I like the entire idea behind it, is not one of those fairy tales I find very impressive. It's very much one of those books that I roll my eyes at, especially at how the romance played out (just because I never dated a soul doesn't mean I can't tell).
------------------------
Original Rating: 3.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/review-cruel-beauty-by-rosamund-hodge.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
Ryan Hill (152 KP) rated Aquaman (2018) in Movies
Jun 8, 2019
"war is coming to the surface"
Aquaman is absolutely a disciple of the superhero formula we've seen used, reused and recycled over the past couple decades...but its formula done right. There's an inherent lunacy to a hero like Aquaman; his myth is built upon a lost Atlantean culture that's simultaneously advanced technologically and heavily influenced by ancient Greek mythology, and his powers included near-Superman levels of strength and invulnerability existing alongside an ability to communicate with marine life. This makes approaching his story from a gritty, realistic perspective damn near impossible.
Instead Wan and the writers behind Aquaman intelligently focus on world-building and following the tried-and-true "heroic journey"; complete with initial rejection of a prophesied role, slow but steady immersion into said role's culture, recognition of the need for growth and change, and eventual assumption of role. It's been seen before and it'll be seen again. But what propels Aquaman ahead of other films like it is the energy that Wan imbues it with. It's goofy without undermining the sincerity of Arthur's journey. It's fast-paced and simple-minded without sacrificing the weight and universality of this particular hero's myth. It's loud and colorful and *full* of CGI everything without reducing itself to an over-commercialized, artless heap of nothingness.
It's a big-ass blockbuster with personality. Momoa has charisma to spare; he owns the physicality and irreverence of this new imagining of the king of the ocean perfectly. Amber Heard is sexy and badass as Mera; something of a victim of a forced romance but also a compelling and strong protagonist in her own right. Patrick Wilson as Oceanmaster (call me....Oceanmaster) is given enough screen-time to develop that he's more than a punching bag for Aquaman; but actually a character with ambitions and a defined, fleshed-out purpose. The origin segment is tightly done and more than enough to set the stage for what is to come. And probably the strongest aspect of this picture, the costuming and world-building, is off the charts. Similar to the enduring fantasy films that precede this (LOTR, Star Wars, Avatar for a few examples) the undersea kingdoms are a place I want to return to. They aren't just my world dressed up with CGI and the occasional costuming flourish; they're entirely foreign and endlessly inventive. Probably a solid third of the film is simply Aquaman, and the audience, being told about this world and shown it by Mera. While that may not be artistically prestigious strategy for engaging audiences, it entertains and fascinates on a "turn off your brain and look at those pretty colors" sort of way. There's a simple glee in seeing sharks ridden like horses or an octopus pounding a war-time set of drums.
I always offer the disclaimer when writing about nerdy films that I love which is this: I am a nerd. While I wasn't particularly attached to Aquaman growing up; his journey, the nature of this sort of film and the cinematic universe he will be growing into are fundamentally important to me, and I like to embrace that bias rather than keep it in check with reduced ratings or "objective" analysis. Whether it be a giant, confusing and chaotic battle between underwater armies or the horrifying descent into "the trench"; you'll always find me looking up at the screen like a little kid. Or moments like Arthur meeting Mera and confronting is past, or taking upon the role of king while wielding the trident; I just love that sort of stuff. I'm a sucker for these beats and this formula; and all signs point to this continuing. So while I may like it more than most; I'd mostly like to say Aquaman still distinguishes itself as a particularly goofy, sprawling, mythic, and metal experience that deserved to be seen on the big-screen, and to be celebrated as the fantasy film it is. It's a great time, and a nice addition to the DC film franchise.
Instead Wan and the writers behind Aquaman intelligently focus on world-building and following the tried-and-true "heroic journey"; complete with initial rejection of a prophesied role, slow but steady immersion into said role's culture, recognition of the need for growth and change, and eventual assumption of role. It's been seen before and it'll be seen again. But what propels Aquaman ahead of other films like it is the energy that Wan imbues it with. It's goofy without undermining the sincerity of Arthur's journey. It's fast-paced and simple-minded without sacrificing the weight and universality of this particular hero's myth. It's loud and colorful and *full* of CGI everything without reducing itself to an over-commercialized, artless heap of nothingness.
It's a big-ass blockbuster with personality. Momoa has charisma to spare; he owns the physicality and irreverence of this new imagining of the king of the ocean perfectly. Amber Heard is sexy and badass as Mera; something of a victim of a forced romance but also a compelling and strong protagonist in her own right. Patrick Wilson as Oceanmaster (call me....Oceanmaster) is given enough screen-time to develop that he's more than a punching bag for Aquaman; but actually a character with ambitions and a defined, fleshed-out purpose. The origin segment is tightly done and more than enough to set the stage for what is to come. And probably the strongest aspect of this picture, the costuming and world-building, is off the charts. Similar to the enduring fantasy films that precede this (LOTR, Star Wars, Avatar for a few examples) the undersea kingdoms are a place I want to return to. They aren't just my world dressed up with CGI and the occasional costuming flourish; they're entirely foreign and endlessly inventive. Probably a solid third of the film is simply Aquaman, and the audience, being told about this world and shown it by Mera. While that may not be artistically prestigious strategy for engaging audiences, it entertains and fascinates on a "turn off your brain and look at those pretty colors" sort of way. There's a simple glee in seeing sharks ridden like horses or an octopus pounding a war-time set of drums.
I always offer the disclaimer when writing about nerdy films that I love which is this: I am a nerd. While I wasn't particularly attached to Aquaman growing up; his journey, the nature of this sort of film and the cinematic universe he will be growing into are fundamentally important to me, and I like to embrace that bias rather than keep it in check with reduced ratings or "objective" analysis. Whether it be a giant, confusing and chaotic battle between underwater armies or the horrifying descent into "the trench"; you'll always find me looking up at the screen like a little kid. Or moments like Arthur meeting Mera and confronting is past, or taking upon the role of king while wielding the trident; I just love that sort of stuff. I'm a sucker for these beats and this formula; and all signs point to this continuing. So while I may like it more than most; I'd mostly like to say Aquaman still distinguishes itself as a particularly goofy, sprawling, mythic, and metal experience that deserved to be seen on the big-screen, and to be celebrated as the fantasy film it is. It's a great time, and a nice addition to the DC film franchise.
Heather Cranmer (2721 KP) rated The Curse of Betrayal (Curse Books, #2) in Books
Jun 7, 2018
(This review can also be found on my blog <a href="http://themisadventuresofatwentysomething.blogspot.com/">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
You know when you read the second book in a series, and think how much better the first book was? Well, this isn't the case with The Curse of Betrayal! In fact, I think this book was even better than its predecessor. I believe The Curse of Betrayal could be read as a stand alone, but it'd be much more enjoyable if you read The Thousand Year Curse which is the first book in the series.
I like the title. Ryder does feel a bit betrayed by her mother and someone else (to tell would be spoilers) in the book.
Like the first book, I'm not a fan of the cover of this book either. It's just too plain for my liking, and for those that do judge a book by its cover (of which I have been guilty before), I think it will put them off reading this AMAZING book!
I enjoyed the world building. It seemed as if a place like the Demi God Academy could really exist. Plus, the world in this book answers most of my questions from the first book. The world building is definitely interesting in this book!
The pacing is spot on! I loved every page and couldn't wait to find out what would happen next. Even in the pages where there was no action, it was still very gripping.
The plot is just as interesting, if not more interesting, as the first book. In this book, we learn more about Ryder, Ryder's elusive mother, and Ari as well as a new cast of characters. We get to see Ryder's first year at Demi God Academy, and let's just say it is anything but uneventful. Ryder is still trying to work out her curse and find out which man is her soul mate. There's also another added danger that I won't go in to due to spoilers.
Miss Lavati does an excellent job of making sure her characters are well written and able to come to life. While I liked Ryder and found her to be a well rounded character, I thought she was being a bit too whiny and selfish with double standards. For example, it's okay for Ryder to flirt with and kiss both Ollie and Ari, but when one of them does it with another girl, Ryder gets insanely jealous. (There's one scene at a restaurant where this is very apparent and a bit over the top). I do feel bad for Ryder though. While some may think it'd be amazing to have two hot guys pine after your affections, Ryder doesn't want to hurt either one of them and hates seeing each one miserable. Plus, her life is in danger thanks to the curse Hades has put on her. I was glad that Ari was featured a lot in this book because I'm definitely Team Ari, and I really want Ryder to pick him. Ari is just a smooth kind of guy. He's funny and witty. Ollie is in the book just not as much as Ari. I do like Ollie also, but just not as much as Ari. Ollie is very caring and everything, but I just feel like Ari would make a better boyfriend. I also liked Kara in this book. She was such an awesome best friend, and I loved the way she really cared about Ryder.
The dialogue fits perfectly for a mature young adult/new adult book. I enjoyed every single scene. There are a few grammatical errors, but it doesn't take away from the book at all. There's also swearing and sexual references, but nothing over the top.
Overall, The Curse of Betrayal by Taylor Lavati is a fantastic read. This book has a great cast of characters, a super interesting plot, and a very immersive world. Miss Lavati is a very talented writer, and I enjoy reading her work. Will I be reading the next book in the series? Most definitely!
I'd recommend this book to those aged 17+ who enjoy reading about Greek mythology, hot guys, and/or great characters.
<b>I'd give The Curse of Betrayal (Curse Books #2) by Taylor Lavati a 4.75 out of 5.</b>
You know when you read the second book in a series, and think how much better the first book was? Well, this isn't the case with The Curse of Betrayal! In fact, I think this book was even better than its predecessor. I believe The Curse of Betrayal could be read as a stand alone, but it'd be much more enjoyable if you read The Thousand Year Curse which is the first book in the series.
I like the title. Ryder does feel a bit betrayed by her mother and someone else (to tell would be spoilers) in the book.
Like the first book, I'm not a fan of the cover of this book either. It's just too plain for my liking, and for those that do judge a book by its cover (of which I have been guilty before), I think it will put them off reading this AMAZING book!
I enjoyed the world building. It seemed as if a place like the Demi God Academy could really exist. Plus, the world in this book answers most of my questions from the first book. The world building is definitely interesting in this book!
The pacing is spot on! I loved every page and couldn't wait to find out what would happen next. Even in the pages where there was no action, it was still very gripping.
The plot is just as interesting, if not more interesting, as the first book. In this book, we learn more about Ryder, Ryder's elusive mother, and Ari as well as a new cast of characters. We get to see Ryder's first year at Demi God Academy, and let's just say it is anything but uneventful. Ryder is still trying to work out her curse and find out which man is her soul mate. There's also another added danger that I won't go in to due to spoilers.
Miss Lavati does an excellent job of making sure her characters are well written and able to come to life. While I liked Ryder and found her to be a well rounded character, I thought she was being a bit too whiny and selfish with double standards. For example, it's okay for Ryder to flirt with and kiss both Ollie and Ari, but when one of them does it with another girl, Ryder gets insanely jealous. (There's one scene at a restaurant where this is very apparent and a bit over the top). I do feel bad for Ryder though. While some may think it'd be amazing to have two hot guys pine after your affections, Ryder doesn't want to hurt either one of them and hates seeing each one miserable. Plus, her life is in danger thanks to the curse Hades has put on her. I was glad that Ari was featured a lot in this book because I'm definitely Team Ari, and I really want Ryder to pick him. Ari is just a smooth kind of guy. He's funny and witty. Ollie is in the book just not as much as Ari. I do like Ollie also, but just not as much as Ari. Ollie is very caring and everything, but I just feel like Ari would make a better boyfriend. I also liked Kara in this book. She was such an awesome best friend, and I loved the way she really cared about Ryder.
The dialogue fits perfectly for a mature young adult/new adult book. I enjoyed every single scene. There are a few grammatical errors, but it doesn't take away from the book at all. There's also swearing and sexual references, but nothing over the top.
Overall, The Curse of Betrayal by Taylor Lavati is a fantastic read. This book has a great cast of characters, a super interesting plot, and a very immersive world. Miss Lavati is a very talented writer, and I enjoy reading her work. Will I be reading the next book in the series? Most definitely!
I'd recommend this book to those aged 17+ who enjoy reading about Greek mythology, hot guys, and/or great characters.
<b>I'd give The Curse of Betrayal (Curse Books #2) by Taylor Lavati a 4.75 out of 5.</b>
Hazel (1853 KP) rated Red Rising in Books
Dec 7, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review</i>
<i>Red Rising</i> by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike <i>The Hunger Games Trilogy</i> by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. <i>Red Rising</i> suddenly becomes <i>Hunger Games-esque</i> and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about <i>Red Rising</i> was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realizes that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of <i>Red Rising</i>. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
<i>Red Rising</i> by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike <i>The Hunger Games Trilogy</i> by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. <i>Red Rising</i> suddenly becomes <i>Hunger Games-esque</i> and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about <i>Red Rising</i> was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realizes that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of <i>Red Rising</i>. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
Purple Phoenix Games (2266 KP) rated Elysium in Tabletop Games
Aug 3, 2021
Greek Mythology has ALWAYS been a fascination of mine. I remember rewinding and replaying the original “Clash of the Titans” movie over and over on VHS. It’s super warped today but I still enjoy it now digitally. When I saw Elysium was coming out several years ago I knew I had to take a look at it, and I’m glad I did because it shot up my Top 100 Games of All Time and even spent a while in my Top 10. Not so much anymore, but I still love it. Why, you ask?
Elysium is a set collection card drafting game for two to four players. Each player will be attempting to complete the greatest collection of Legends written and subsequently transferred to their Elysium (Ancient Grecian version of heaven) for Victory Points. Whomever weaves the greatest Legendary tapestry will emerge victorious and really have a story to tell.
To setup, follow the instructions in the rulebook, but a three player game should look similar to what is pictured above. Players will receive their own player board, starting VP tokens and gold, and a set of columns. Cards from five different Grecian families will be shuffled and displayed in The Agora (middle of the board and the place to draft the cards). Once setup the game may begin.
Elysium is played over five Epochs (rounds) and each Epoch is divided into four phases. Phase I is Awakening, which is simply setting up The Agora for the new Epoch by removing all existing cards there and revealing more. Phase II is Actions, where players will be using their columns to draft cards from The Agora (as long as the color of column matches one of the icons on the card) and taking at least one Quest tile (also denotes player order for the next Epoch). Phase III is Writing the Legends, where players will redistribute the player order discs, receive gold and VP per their Quest tile, and transfer any cards from their Domain – active holding area – to their Elysium for VP at game end. Phase IV is End of Epoch, where players will perform basic cleanup tasks to prepare for the next Epoch of play. Play will continue in this fashion until the end of the fifth Epoch and players tally their final VP to determine the greatest Legend-crafter in all the land!
I know this is a VERY brief summary of what is done during the game, but Elysium has many card effects and combos to consider that I just cannot detail here for fear of readers falling asleep or my fingers falling off.
Components. Elysium has simply an incredible aesthetic. The non-card components certainly radiate ancient times and the art on the cards is breathtaking. Every piece is very high quality, which is something I have grown to expect from Space Cowboys games. The columns are fun to hold and move, and as a whole is just visually stunning. I love playing this game and seeing it all out on the table.
Obviously we place our ratings on the very first graphic you see so it is no surprise by the time you read down here, but I love Elysium. Like I mentioned in my open it was in my Top 10 for quite a while, and for very good reasons. First, I love games that simply LOOK good. Is that shallow? Maybe, but it’s what I like. Second, I love the card interplay and combo potential in Elysium. Chaining together cards to build small engines is always fun and provides so much replayability by never really being able to experience every card combo in the box. Finally, it has great components and a theme that speaks to me and my personal interests. It feels like a game that was meant to be played by me specifically. When you find a game like that you have to give it high ratings.
So if you are at all like me and enjoy games with a great theme, excellent art and components, and intriguing replayability, then certainly grab a copy of Elysium. Purple Phoenix Games gives it an Olympus-sized 11 / 12. So many Ancient Greece themed games exist and Elysium is simply one of the best.
Elysium is a set collection card drafting game for two to four players. Each player will be attempting to complete the greatest collection of Legends written and subsequently transferred to their Elysium (Ancient Grecian version of heaven) for Victory Points. Whomever weaves the greatest Legendary tapestry will emerge victorious and really have a story to tell.
To setup, follow the instructions in the rulebook, but a three player game should look similar to what is pictured above. Players will receive their own player board, starting VP tokens and gold, and a set of columns. Cards from five different Grecian families will be shuffled and displayed in The Agora (middle of the board and the place to draft the cards). Once setup the game may begin.
Elysium is played over five Epochs (rounds) and each Epoch is divided into four phases. Phase I is Awakening, which is simply setting up The Agora for the new Epoch by removing all existing cards there and revealing more. Phase II is Actions, where players will be using their columns to draft cards from The Agora (as long as the color of column matches one of the icons on the card) and taking at least one Quest tile (also denotes player order for the next Epoch). Phase III is Writing the Legends, where players will redistribute the player order discs, receive gold and VP per their Quest tile, and transfer any cards from their Domain – active holding area – to their Elysium for VP at game end. Phase IV is End of Epoch, where players will perform basic cleanup tasks to prepare for the next Epoch of play. Play will continue in this fashion until the end of the fifth Epoch and players tally their final VP to determine the greatest Legend-crafter in all the land!
I know this is a VERY brief summary of what is done during the game, but Elysium has many card effects and combos to consider that I just cannot detail here for fear of readers falling asleep or my fingers falling off.
Components. Elysium has simply an incredible aesthetic. The non-card components certainly radiate ancient times and the art on the cards is breathtaking. Every piece is very high quality, which is something I have grown to expect from Space Cowboys games. The columns are fun to hold and move, and as a whole is just visually stunning. I love playing this game and seeing it all out on the table.
Obviously we place our ratings on the very first graphic you see so it is no surprise by the time you read down here, but I love Elysium. Like I mentioned in my open it was in my Top 10 for quite a while, and for very good reasons. First, I love games that simply LOOK good. Is that shallow? Maybe, but it’s what I like. Second, I love the card interplay and combo potential in Elysium. Chaining together cards to build small engines is always fun and provides so much replayability by never really being able to experience every card combo in the box. Finally, it has great components and a theme that speaks to me and my personal interests. It feels like a game that was meant to be played by me specifically. When you find a game like that you have to give it high ratings.
So if you are at all like me and enjoy games with a great theme, excellent art and components, and intriguing replayability, then certainly grab a copy of Elysium. Purple Phoenix Games gives it an Olympus-sized 11 / 12. So many Ancient Greece themed games exist and Elysium is simply one of the best.
Ryan Hill (152 KP) rated Wonder Woman (2017) in Movies
May 18, 2019
"I can save today, you can save the world"
Remember when some trickster claiming to be a former worker from Warner Bros. wrote an open letter saying that Wonder Woman was just another mess of a DC movie, et cetera? I remember how Patty Jenkins responded to that. She tweeted: "Just wait and you'll see".
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
Purple Phoenix Games (2266 KP) rated Labyrinthos in Tabletop Games
Feb 10, 2021
Greek mythology has always fascinated me. The adventures are awesome, the heroes are mighty, and the creatures are awe-inspiring. I often wonder what it would have been like to live in those ancient times, hearing those stories firsthand, and experiencing the excitement associated with such feats. Well, I may not have a time machine. But I do have a board game table. And on it is Labyrinthos.
Disclaimer: I do not intend to rehash the entire rulebook in this review, but rather provide an overview of the rules and game flow. -L
Labyrinthos is a game of action and adventure in which players are exploring the famed Labyrinth of Daedalus, searching for the 4 secret keys that will let them escape! All this while avoiding traps, their competitors, and the deadly Minotaur who seemingly lurks around every corner. To setup for a game, create the Labyrinth as described in the rules – in the end it will be a 7×7 tile grid. Each player receives a Player Board, Standee, 4 Desperation cards, 7 Action tokens (3 Hand tokens and 4 Feet tokens for the first turn). The remaining Desperation cards and tokens are placed to the side of the play area, along with the Key tokens. Select a starting player, and the game is ready to begin!
Over a series of rounds, players will take turns performing various actions, exploring the Labyrinth, searching for Keys, and avoiding the Minotaur. On your turn, you will be spending Action tokens to perform various actions, like: Move (to an adjacent tile), Explore (flip over an adjacent face-down tile and move to it), Discover Key (gain the corresponding Key token to your Player board), Desperate Action (play a Desperation card), and a handful of other actions. Each action has a token cost associated with it, and you must pay it in order to perform the action. Each different Player Board also has a unique Special Ability that is active during the game. Once you have taken as many actions as you can/want to take, you will return any unused Action tokens to the supply, and then choose a combination of 7 new Action tokens to be used on your next turn. Then, you will refresh your hand – drawing or discarding Desperation cards so your hand limit is 4 minus the number of Key tokens you possess.
The final step of your turn is to roll the Minotaur die and resolve his movement/actions. The movement of the Minotaur is similar to the movement rules of players, and some results on the Minotaur die activate special abilities. If the Minotaur ever enters a tile occupied by a player, he immediately Attacks! The controlling player rolls the Blood die, and the attacked hero gains that number of Wounds to their Player Board. A Wound on your Player Board will cover one of your turn actions, prohibiting you from performing that action until you spend Action tokens to Heal. Certain tiles of the Maze have special symbols that will immediately affect the gameplay. For example, any time a player moves onto a Trap tile, they immediately take a Wound. When a player is on a Hide tile, they cannot be Attacked by the Minotaur. Play continues in this fashion, alternating turns, until a player has collected all 4 Key tokens and made their way back to the starting Door tile. That player has successfully escaped, and all others remain trapped in the Labyrinth!
I know that may seem like a lot, but the gameplay itself is actually pretty streamlined and intuitive. The action descriptions on the Player Boards are clear and concise, acting as a player reference sheet in a way. I appreciate the Player Boards SO much because it keeps me from having to continually refer to the rulebook for any action questions. The action options themselves are simple to understand and perform, but the strategy required for overall success is trickier to master. This truly is an exploration game – the 7×7 grid is created anew every game, and chances are you will never play with the same grid layout twice. The Key tiles could be anywhere, and you have to try to get to them before your opponents. The different tile symbols offer some risk/reward decisions. Do you risk turning over an undiscovered tile in hopes that it gets you across this gap? It could be a Trap! Or it could be a Secret Passage that allows you to move elsewhere. You’ll never know if you don’t try it!
I also really like the mechanic of the Minotaur in this game. At the end of your turn, you roll the Minotaur die and resolve it. That means the Minotaur is essentially controlled by all players. It becomes a sort of tug-of-war, if you will, as players try to get the Minotaur to attack opponents, while hopefully also staying out of his range for the next player’s turn. Another neat thing about Labyrinthos is that when you collect a Key token, it actually provides you with an action and is added to your Player Board, covering an existing action. Through the use of actions and Desperation cards, you could be able to move Keys around on your Player Board too. Maybe its initial placement doesn’t fit the situation anymore, and you need that covered power back! The opportunities to strategize with your actions are endless, and that keeps the gameplay engaging. One last cool thing I want to mention is the selection of new Action tokens at the end of each turn. Certain actions require Hand, Feet, or both types of tokens, and having the ability to choose the combination of those for yourself feels pretty powerful. It could also quickly backfire, if suddenly you find yourself needing Feet tokens, but you only have Hands left! It’s another layer to the strategy, and it helps up the excitement of play.
Components. The components of this game are great. The maze tiles are nice and sturdy, the symbolism clean and clear. The Desperation cards have some cool flavor text, and their actions are straightforward. All of the Standees, tokens, and dice are good quality that will hold up to lots of handling. All in all, great production quality!
I am extremely happy that I decided to back Labyrinthos on Kickstarter. For being a seemingly simple game of maze exploration and movement, there is definitely a lot more to it than meets the eye. Players have to manage resources and plan ahead for what they need in subsequent turns. Desperation cards can affect the gameplay, and can sometimes even be used during an opponent’s turn. The ability of Key tokens to cover existing abilities really makes players think about what their strategy is moving forward. All of these aspects put into one game make for a fun and immersive experience. Purple Phoenix Games gives it an a-maze-ing 10 / 12. Also, special shout-out to the all-female team behind this great game!! It is really cool to see how women are moving up in the gaming industry, and becoming prominent players across game design, art, production, and media content realms within this hobby. Kudos to you ladies! I am very much looking forward to supporting your games in the future!
Disclaimer: I do not intend to rehash the entire rulebook in this review, but rather provide an overview of the rules and game flow. -L
Labyrinthos is a game of action and adventure in which players are exploring the famed Labyrinth of Daedalus, searching for the 4 secret keys that will let them escape! All this while avoiding traps, their competitors, and the deadly Minotaur who seemingly lurks around every corner. To setup for a game, create the Labyrinth as described in the rules – in the end it will be a 7×7 tile grid. Each player receives a Player Board, Standee, 4 Desperation cards, 7 Action tokens (3 Hand tokens and 4 Feet tokens for the first turn). The remaining Desperation cards and tokens are placed to the side of the play area, along with the Key tokens. Select a starting player, and the game is ready to begin!
Over a series of rounds, players will take turns performing various actions, exploring the Labyrinth, searching for Keys, and avoiding the Minotaur. On your turn, you will be spending Action tokens to perform various actions, like: Move (to an adjacent tile), Explore (flip over an adjacent face-down tile and move to it), Discover Key (gain the corresponding Key token to your Player board), Desperate Action (play a Desperation card), and a handful of other actions. Each action has a token cost associated with it, and you must pay it in order to perform the action. Each different Player Board also has a unique Special Ability that is active during the game. Once you have taken as many actions as you can/want to take, you will return any unused Action tokens to the supply, and then choose a combination of 7 new Action tokens to be used on your next turn. Then, you will refresh your hand – drawing or discarding Desperation cards so your hand limit is 4 minus the number of Key tokens you possess.
The final step of your turn is to roll the Minotaur die and resolve his movement/actions. The movement of the Minotaur is similar to the movement rules of players, and some results on the Minotaur die activate special abilities. If the Minotaur ever enters a tile occupied by a player, he immediately Attacks! The controlling player rolls the Blood die, and the attacked hero gains that number of Wounds to their Player Board. A Wound on your Player Board will cover one of your turn actions, prohibiting you from performing that action until you spend Action tokens to Heal. Certain tiles of the Maze have special symbols that will immediately affect the gameplay. For example, any time a player moves onto a Trap tile, they immediately take a Wound. When a player is on a Hide tile, they cannot be Attacked by the Minotaur. Play continues in this fashion, alternating turns, until a player has collected all 4 Key tokens and made their way back to the starting Door tile. That player has successfully escaped, and all others remain trapped in the Labyrinth!
I know that may seem like a lot, but the gameplay itself is actually pretty streamlined and intuitive. The action descriptions on the Player Boards are clear and concise, acting as a player reference sheet in a way. I appreciate the Player Boards SO much because it keeps me from having to continually refer to the rulebook for any action questions. The action options themselves are simple to understand and perform, but the strategy required for overall success is trickier to master. This truly is an exploration game – the 7×7 grid is created anew every game, and chances are you will never play with the same grid layout twice. The Key tiles could be anywhere, and you have to try to get to them before your opponents. The different tile symbols offer some risk/reward decisions. Do you risk turning over an undiscovered tile in hopes that it gets you across this gap? It could be a Trap! Or it could be a Secret Passage that allows you to move elsewhere. You’ll never know if you don’t try it!
I also really like the mechanic of the Minotaur in this game. At the end of your turn, you roll the Minotaur die and resolve it. That means the Minotaur is essentially controlled by all players. It becomes a sort of tug-of-war, if you will, as players try to get the Minotaur to attack opponents, while hopefully also staying out of his range for the next player’s turn. Another neat thing about Labyrinthos is that when you collect a Key token, it actually provides you with an action and is added to your Player Board, covering an existing action. Through the use of actions and Desperation cards, you could be able to move Keys around on your Player Board too. Maybe its initial placement doesn’t fit the situation anymore, and you need that covered power back! The opportunities to strategize with your actions are endless, and that keeps the gameplay engaging. One last cool thing I want to mention is the selection of new Action tokens at the end of each turn. Certain actions require Hand, Feet, or both types of tokens, and having the ability to choose the combination of those for yourself feels pretty powerful. It could also quickly backfire, if suddenly you find yourself needing Feet tokens, but you only have Hands left! It’s another layer to the strategy, and it helps up the excitement of play.
Components. The components of this game are great. The maze tiles are nice and sturdy, the symbolism clean and clear. The Desperation cards have some cool flavor text, and their actions are straightforward. All of the Standees, tokens, and dice are good quality that will hold up to lots of handling. All in all, great production quality!
I am extremely happy that I decided to back Labyrinthos on Kickstarter. For being a seemingly simple game of maze exploration and movement, there is definitely a lot more to it than meets the eye. Players have to manage resources and plan ahead for what they need in subsequent turns. Desperation cards can affect the gameplay, and can sometimes even be used during an opponent’s turn. The ability of Key tokens to cover existing abilities really makes players think about what their strategy is moving forward. All of these aspects put into one game make for a fun and immersive experience. Purple Phoenix Games gives it an a-maze-ing 10 / 12. Also, special shout-out to the all-female team behind this great game!! It is really cool to see how women are moving up in the gaming industry, and becoming prominent players across game design, art, production, and media content realms within this hobby. Kudos to you ladies! I am very much looking forward to supporting your games in the future!
