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The Queen of the Damned (The Vampire Chronicles, #3)
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In 1976, a uniquely seductive world of vampires was unveiled in the now-classic Interview with the...
TravelersWife4Life (31 KP) rated The Edge of Belonging in Books
Feb 24, 2021
<a href="https://travelingwife4life.wordpress.com/2020/09/10/the-edge-of-belonging-lone-star-lit/">Travelers Wife 4 Life</a>
The Edge of Belonging by Amanda Cox was like a breath of fresh air amid uncertain times that cause you to reflect inward to who you really are. It is listed as a dual timeline, but I think it reads just like a complete story of getting to know a person from beginning to end, with some very thought-provoking moments.
<b>“What if this whole thing is really about finding your missing pieces?”</b>
This book and the characters in it made me go on a roller-coaster of thoughts, emotions, and feelings. I was hooked from the very beginning and read the book in one sitting because it was so good. I loved how Amanda Cox used the dialogue to make me feel as if I were in the story observing everything unfolding. She also used everyday life situations to convey hope for every situation tastefully touching on topics like depression, abandonment, abuse, PTSD, and death. It was masterfully done and quite hard to believe that this was her debut novel! (I cannot imagine what she will write after getting “practice” under her belt). The Edge of Belonging has some of the most poignant moments in it that I have ever read before in a book. Ivy Rose, Harvey James, Reese, and Pearl brought to light one of life’s most resounding questions… Who are you?
<b>“You are Braver than you know. And more Loved than you realize.”</b>
The plot is a dual timeline, I do not always like them because they can be kind of wonky, but wow, this one was done to perfection. It was really like looking through a window and watching the characters interact on the other side, definitely one of the best (if not the best) dual timelines I have ever had the pleasure of reading before. Interwoven with great landscape descriptions and interesting background on all the characters plus, the 20 years kept secrets… well this book is one I will be recommending for a long time to come.
While diving deep into the different characters' lives Amanda Cox managed to give many happy endings and bring you on a journey of discovery that I think everyone can relate to and enjoy. I highly recommend this book and give it 5 stars. Great job on your first book Amanda Cox, I cannot wait to see what you write next!
*I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed within are my own.
The Edge of Belonging by Amanda Cox was like a breath of fresh air amid uncertain times that cause you to reflect inward to who you really are. It is listed as a dual timeline, but I think it reads just like a complete story of getting to know a person from beginning to end, with some very thought-provoking moments.
<b>“What if this whole thing is really about finding your missing pieces?”</b>
This book and the characters in it made me go on a roller-coaster of thoughts, emotions, and feelings. I was hooked from the very beginning and read the book in one sitting because it was so good. I loved how Amanda Cox used the dialogue to make me feel as if I were in the story observing everything unfolding. She also used everyday life situations to convey hope for every situation tastefully touching on topics like depression, abandonment, abuse, PTSD, and death. It was masterfully done and quite hard to believe that this was her debut novel! (I cannot imagine what she will write after getting “practice” under her belt). The Edge of Belonging has some of the most poignant moments in it that I have ever read before in a book. Ivy Rose, Harvey James, Reese, and Pearl brought to light one of life’s most resounding questions… Who are you?
<b>“You are Braver than you know. And more Loved than you realize.”</b>
The plot is a dual timeline, I do not always like them because they can be kind of wonky, but wow, this one was done to perfection. It was really like looking through a window and watching the characters interact on the other side, definitely one of the best (if not the best) dual timelines I have ever had the pleasure of reading before. Interwoven with great landscape descriptions and interesting background on all the characters plus, the 20 years kept secrets… well this book is one I will be recommending for a long time to come.
While diving deep into the different characters' lives Amanda Cox managed to give many happy endings and bring you on a journey of discovery that I think everyone can relate to and enjoy. I highly recommend this book and give it 5 stars. Great job on your first book Amanda Cox, I cannot wait to see what you write next!
*I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed within are my own.
Sarah (7800 KP) rated Underwater (2020) in Movies
Oct 18, 2020
Better than expected
Underwater stars Kristen Stewart as an engineer working aboard a deep-sea laboratory, who must fend for her life alongside her crew when an earthquake devastates the station.
I’ll start by admitting that I’ve never been a big fan of Kristen Stewart, with Twilight to thank for this rather negative opinion. However I’ve come to realise she’s actually a decent actress, especially in action packed films, and this really helped me to enjoy Underwater a lot more than I was expecting.
The action in this is virtually nonstop. There’s no lengthy or drawn out introductions, we’re submerged (literally) into the main plot of this film less than 5 minutes in and it continues in this vein throughout. It’s an edge of your seat thrill ride that’s tense and gripping, and there isn’t a dull moment. The horror aspect is rather well done and paired with the unknown and often claustrophobic circumstances the characters find them in and the very good score, it becomes quite a scary and nerve wracking film. The plot is decent and whilst the reveal on the cause of the earthquake isn’t entirely unpredictable, it still proves to be great entertaining.
Sadly despite my gushing, Underwater isn’t perfect. The biggest problem with it is the CGI and special effects. The props and set design themselves look good, but they’re let down when we’re shown these huge CGI underwater scenes that are meant to look impressive but instead look horrendous. I’d be interested to know how this looked on the big screen, but in a home setup it looks decidedly dodgy. And slow motion every time something explodes is cringeworthy.
Underwater also suffers from your typical survival film clichés. The plot itself is very typical of a survival film, and paired with ridiculous and predictable actions by underdeveloped characters, it lets it down. The cast too are also let down by the cliched characters, and even Vincent Cassel and John Gallagher Jnr are given little to work with. The only character that has had any development whatsoever is Stewart’s Nora, who is a decent and fairly likeable protagonist.
I really wish Underwater had a little more money thrown at it. If they had dramatically improved the CGI then I think this would’ve made for a cracking good sci-if/horror. The critical reception for this hasn’t been great, which surprises me as overall this is a very tense, nerve wracking and sometimes scary film that just falls short of being very good.
I’ll start by admitting that I’ve never been a big fan of Kristen Stewart, with Twilight to thank for this rather negative opinion. However I’ve come to realise she’s actually a decent actress, especially in action packed films, and this really helped me to enjoy Underwater a lot more than I was expecting.
The action in this is virtually nonstop. There’s no lengthy or drawn out introductions, we’re submerged (literally) into the main plot of this film less than 5 minutes in and it continues in this vein throughout. It’s an edge of your seat thrill ride that’s tense and gripping, and there isn’t a dull moment. The horror aspect is rather well done and paired with the unknown and often claustrophobic circumstances the characters find them in and the very good score, it becomes quite a scary and nerve wracking film. The plot is decent and whilst the reveal on the cause of the earthquake isn’t entirely unpredictable, it still proves to be great entertaining.
Sadly despite my gushing, Underwater isn’t perfect. The biggest problem with it is the CGI and special effects. The props and set design themselves look good, but they’re let down when we’re shown these huge CGI underwater scenes that are meant to look impressive but instead look horrendous. I’d be interested to know how this looked on the big screen, but in a home setup it looks decidedly dodgy. And slow motion every time something explodes is cringeworthy.
Underwater also suffers from your typical survival film clichés. The plot itself is very typical of a survival film, and paired with ridiculous and predictable actions by underdeveloped characters, it lets it down. The cast too are also let down by the cliched characters, and even Vincent Cassel and John Gallagher Jnr are given little to work with. The only character that has had any development whatsoever is Stewart’s Nora, who is a decent and fairly likeable protagonist.
I really wish Underwater had a little more money thrown at it. If they had dramatically improved the CGI then I think this would’ve made for a cracking good sci-if/horror. The critical reception for this hasn’t been great, which surprises me as overall this is a very tense, nerve wracking and sometimes scary film that just falls short of being very good.
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Maddog (122 KP) rated Joker (2019) in Movies
May 16, 2020
A must see, even if your not a superhero fan.
I'm a massive Joker fan - always have been ever since I was little, so this may be a little one sided.
So out of all the films he's been involved with this is Joker’s first stand alone movie which I was so excited for. Joker’s back story has of course been talked about for many years as most of his life is unknown and simply everyone is guessing. The film 'Joker' decides to go down the back story of mental health which many believe is the cause of his behaviour.
The film starts off very simple, so much so that you believe you could be watching any other film. You get little hints of the Joker’s mental health issues and how people see him (at one point I felt sorry for him because of everything happening in the movie). As the movie progresses your then thrown into the world and mindset of the Joker himself; you start to see more mental health issues and start to notice the Joker that everyone knows. As the film progresses towards to the end, it creates many moments that leave you questioning your own sanity as you start to wonder what the truth is.
Yes this film has it flaws; it wasn’t quite the stand alone I was hoping for as I thought maybe a lesser well known reason would have been chosen but still the film did well with its chosen plot.
Yes it has 'that song' but in reality I feel it actually helps with the story that's happening. Here's my take; I feel that the song is in fact a hidden message. The song was performed by someone many would call 'a monster' so in truth is this not fitting for Joker? I believe that the playing of this song is Joker showing the audience in only true Joker fashion that 'the monster' he has hidden for so long is finally free.
There are many things I could say about this film but I feel I'd be here forever. In truth, many people don't enjoy this film for whatever their reason, or only enjoy parts. However, I enjoyed all of the film and everything it stands for or represents. As I said at the beginning I'm a Joker fan so this may seem one sided. I will say this though no matter what you may think about the film it’s 100% worth a watch, we can all take something away from this film, even if it's just how well done the movie was made. put together and portrayed.
So out of all the films he's been involved with this is Joker’s first stand alone movie which I was so excited for. Joker’s back story has of course been talked about for many years as most of his life is unknown and simply everyone is guessing. The film 'Joker' decides to go down the back story of mental health which many believe is the cause of his behaviour.
The film starts off very simple, so much so that you believe you could be watching any other film. You get little hints of the Joker’s mental health issues and how people see him (at one point I felt sorry for him because of everything happening in the movie). As the movie progresses your then thrown into the world and mindset of the Joker himself; you start to see more mental health issues and start to notice the Joker that everyone knows. As the film progresses towards to the end, it creates many moments that leave you questioning your own sanity as you start to wonder what the truth is.
Yes this film has it flaws; it wasn’t quite the stand alone I was hoping for as I thought maybe a lesser well known reason would have been chosen but still the film did well with its chosen plot.
Yes it has 'that song' but in reality I feel it actually helps with the story that's happening. Here's my take; I feel that the song is in fact a hidden message. The song was performed by someone many would call 'a monster' so in truth is this not fitting for Joker? I believe that the playing of this song is Joker showing the audience in only true Joker fashion that 'the monster' he has hidden for so long is finally free.
There are many things I could say about this film but I feel I'd be here forever. In truth, many people don't enjoy this film for whatever their reason, or only enjoy parts. However, I enjoyed all of the film and everything it stands for or represents. As I said at the beginning I'm a Joker fan so this may seem one sided. I will say this though no matter what you may think about the film it’s 100% worth a watch, we can all take something away from this film, even if it's just how well done the movie was made. put together and portrayed.
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Enjoy the Dragon’s Mate series in this convenient bundle. Witch Mate? Anthony is in trouble....
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Mandy and G.D. Burkhead (26 KP) rated Banewreaker in Books
May 20, 2018
Shelf Life – Banewreaker Will Make You Feel Bad for Sauron
Contains spoilers, click to show
Very few fantasy fans can get away with admitting that they aren’t all that big into sweeping, high epic fantasy à la Lord of the Rings or the Pern stories or everything that Terry Brooks writes. Many non-fantasy fans, however, can point to these tales as examples of why they aren’t into fantasy. Like it or not, it’s hard not to see the latter group’s point, as a lot of high fantasy is riddled with confusing terminology, rehashed stories, and genre clichés. This is not to say that these stories are bad, per sé, just that they can easily turn off readers who aren’t in the right kind of crowd.
Banewreaker, the first book in Jacqueline Carey’s two-part volume The Sundering, will probably not change any opinions in this respect, then, as it’s sweeping high fantasy to the core. This, as it turns out, is both its greatest strength and its greatest weakness.
There are some reviews out there that laud Banewreaker as a masterful examination of subjective viewpoints in an epic fantasy turned into a human tragedy by a simple change of perspective. And they are absolutely correct.
There are other reviews, however, that call the book out as a heap of all of the stalest fantasy clichés piled one atop the other in a confusing and pretentious jumble with a shellacking of purple prose for good measure. And they are also absolutely correct.
Let me explain.
For starters, it would be inaccurate to say that this story is full of clichés. This story is clichés. This story is every familiar and used-up trope you would expect from a high fantasy, all of those details that have been done to death in thousands of other versions until almost nothing that happens seems original anymore.
This is what’s going to turn off a lot of people. But the thing is, Banewreaker has to be this way. It wants the reader to look at all of the things that they’ve come to expect from a fantasy epic and then, by shifting the narrative focus, realize that all of these beloved tropes are actually, when you think about it, tragic as hell.
In other words, it’s Lord of the Rings from Sauron’s point of view.
It’s not a riff, though. It’s not goofy like most of the stuff I go in for. It takes its subject just as seriously as the stories that it’s mirroring, and this is what makes the whole story ultimately so gripping and so moving.
The story starts out like many stories of this magnitude, with exposition stretching back to the Dawn of This Particular Creation. In this case, we have a protogenos world god named Uru-Alat who died and gave rise to seven smaller godlike beings called Shapers. First comes Haomane, who becomes the Lord of Thought and sets himself up as head honcho for this ensuing pantheon. Second is Arahila, the Basically a Love Goddess; and third is Satoris, whose purview was “the quickening of the flesh,” which is high fantasy speak for sexy times. Four more Shapers come after this who, for the sake of brevity, we’ll be glossing over.
To summarize the important godly exposition, the Seven Shapers set about shaping the world to the surprise of no one. Haomane creates elves (here called Ellyl, but if you’ve ever even looked at a fantasy, you know that they’re the elves here), Arahila creates humans, and Satoris doesn’t create anything because he’s busy hanging out with dragons and learning their wisdom. Satoris grants his fleshy quickening to the humans but not the elves, because Haomane didn’t want his elves to do that. Then Haomane decides he doesn’t want the humans to do that either, but Satoris refuses to take the gift away again. Conflict escalates, god wars ensue, and the world splits into two continents, with Satoris ostracized from his brethren on one and the remaining Shapers on the other. By the time the dust has settled, Satoris is scarred and burned pitch black, living in a mostly dead land thanks to Haomane’s wrath, but with a dagger in his possession that is the only weapon capable of killing any of the Shapers.
The story itself picks up thousands of years later, with Satoris as the Satan/Sauron stand-in living in a forbidding land surrounded by classically evil things like trolls, giant spiders, and insane people. Since Haomane is the head god, the rest of the world believes Satoris to be a terrible figure of evil and betrayal, while Satoris’s few allies know him as a pitiable and misunderstood figure who only ever wanted to honor his word and do right by his own sense of morality rather than the dictates of his elder brother god king.
From here the plot becomes the typical Army of Good vs. Army of Evil adventure, but with the protagonistic focus on Satoris and his allies. His trolls we see not as a mindless horde but as a simple, honorable people who happily serve their lord because he happily serves them right back. The mad individuals inhabiting his fortress are castaways from normal society with nowhere else to go. And the giant spiders just happen to live there and be bigger than normal, with no sinister intentions beyond that.
And just like that, by actually showing us the home life of the ultimate in evil fantasy tropes, we see how easily one side’s view of evil is another’s view of good. In doing so, Banewreaker becomes perhaps the first sweeping fantasy epic with no real bad guy, just two sides of an unfortunate conflict. Both sides have their likeable characters, both sides seem from their view to be in the right, and pretty soon you, as the reader, will stop cheering for either one, because whenever one person that you like succeeds it means that another person whom you also like is failing.
In fact, the closest thing that this story has to a clearly-labeled “evil” character is the sorceress Lilias, and even then, she’s not evil so much as a woman who has done some bad things for completely understandable reasons. Lilias, in fact, is one of the most pitiful characters in this whole saga of pitiable characters, with her fears and attachments closely mirroring those of most readers, only amplified by her immortality and magical powers. She is afraid of dying. She wants to be more in the grand scheme of things than just another man’s wife or another country’s momentary ruler, both of which would just be tiny moments in a long history. She likes her youth. She likes having pretty things and pretty people around her. And from her interactions with her dragon mentor and apparently only friend, Calandor, we see that she is also capable of intense affection and even love just as she is capable of indulging in self-centered self-interest that, if not particularly a good trait, is also one that she is not alone in possessing.
Banewreaker, then, is a story with a large cast of characters but very few actual heroes or innocents as well as very few outright villains, which is exactly what it sets out to be. Those who love it and those who hate it both seem to blame this quality in particular for their feelings. The biggest complaint leveled against it (that I have read, anyway) is that the people we should be rooting for do not deserve our sympathy, while the people we should be rooting against are more misguided and unwilling to see things in another light than deserving of our scorn.
This is true. But if it’s a flaw, it’s an intentional one. And if it makes you feel like you shouldn’t be cheering for either side at all in this conflict, that’s the point. This is a story of clichés, yes, but it has something that it needs to say about these clichés and, in doing so, about the subjective and impossibly nebulous quality of morality in general.
In short, here again is another fantasy story about the Forces of Good wiping out an entire nation dedicated to their “evil” enemy. And as the story points out, even if you believe in that cause, you’re still wiping out an entire nation of people. No way is there not a downside to that. Seeing things in a black-and-white morality just means crushing a whole lot of important shades of gray underfoot.
Whether or not you like Banewreaker, then, depends in large part upon how much you realize that Carey as an author is being self-aware. As someone who read and still hasn’t stopped being awed over her Kushiel series, I can’t claim complete objectivity in this area, because I came to Banewreaker already in love with her. I can say, however, that unless you have an intense and searing aversion to ornate and sweeping style, this book is worth any fantasy-lover’s time – especially if you’ve ever felt a pang of empathy for all of the poor villainous mooks that fantasy heroes tend to mow down without a thought because they were the wrong kind of ugly.
Banewreaker, the first book in Jacqueline Carey’s two-part volume The Sundering, will probably not change any opinions in this respect, then, as it’s sweeping high fantasy to the core. This, as it turns out, is both its greatest strength and its greatest weakness.
There are some reviews out there that laud Banewreaker as a masterful examination of subjective viewpoints in an epic fantasy turned into a human tragedy by a simple change of perspective. And they are absolutely correct.
There are other reviews, however, that call the book out as a heap of all of the stalest fantasy clichés piled one atop the other in a confusing and pretentious jumble with a shellacking of purple prose for good measure. And they are also absolutely correct.
Let me explain.
For starters, it would be inaccurate to say that this story is full of clichés. This story is clichés. This story is every familiar and used-up trope you would expect from a high fantasy, all of those details that have been done to death in thousands of other versions until almost nothing that happens seems original anymore.
This is what’s going to turn off a lot of people. But the thing is, Banewreaker has to be this way. It wants the reader to look at all of the things that they’ve come to expect from a fantasy epic and then, by shifting the narrative focus, realize that all of these beloved tropes are actually, when you think about it, tragic as hell.
In other words, it’s Lord of the Rings from Sauron’s point of view.
It’s not a riff, though. It’s not goofy like most of the stuff I go in for. It takes its subject just as seriously as the stories that it’s mirroring, and this is what makes the whole story ultimately so gripping and so moving.
The story starts out like many stories of this magnitude, with exposition stretching back to the Dawn of This Particular Creation. In this case, we have a protogenos world god named Uru-Alat who died and gave rise to seven smaller godlike beings called Shapers. First comes Haomane, who becomes the Lord of Thought and sets himself up as head honcho for this ensuing pantheon. Second is Arahila, the Basically a Love Goddess; and third is Satoris, whose purview was “the quickening of the flesh,” which is high fantasy speak for sexy times. Four more Shapers come after this who, for the sake of brevity, we’ll be glossing over.
To summarize the important godly exposition, the Seven Shapers set about shaping the world to the surprise of no one. Haomane creates elves (here called Ellyl, but if you’ve ever even looked at a fantasy, you know that they’re the elves here), Arahila creates humans, and Satoris doesn’t create anything because he’s busy hanging out with dragons and learning their wisdom. Satoris grants his fleshy quickening to the humans but not the elves, because Haomane didn’t want his elves to do that. Then Haomane decides he doesn’t want the humans to do that either, but Satoris refuses to take the gift away again. Conflict escalates, god wars ensue, and the world splits into two continents, with Satoris ostracized from his brethren on one and the remaining Shapers on the other. By the time the dust has settled, Satoris is scarred and burned pitch black, living in a mostly dead land thanks to Haomane’s wrath, but with a dagger in his possession that is the only weapon capable of killing any of the Shapers.
The story itself picks up thousands of years later, with Satoris as the Satan/Sauron stand-in living in a forbidding land surrounded by classically evil things like trolls, giant spiders, and insane people. Since Haomane is the head god, the rest of the world believes Satoris to be a terrible figure of evil and betrayal, while Satoris’s few allies know him as a pitiable and misunderstood figure who only ever wanted to honor his word and do right by his own sense of morality rather than the dictates of his elder brother god king.
From here the plot becomes the typical Army of Good vs. Army of Evil adventure, but with the protagonistic focus on Satoris and his allies. His trolls we see not as a mindless horde but as a simple, honorable people who happily serve their lord because he happily serves them right back. The mad individuals inhabiting his fortress are castaways from normal society with nowhere else to go. And the giant spiders just happen to live there and be bigger than normal, with no sinister intentions beyond that.
And just like that, by actually showing us the home life of the ultimate in evil fantasy tropes, we see how easily one side’s view of evil is another’s view of good. In doing so, Banewreaker becomes perhaps the first sweeping fantasy epic with no real bad guy, just two sides of an unfortunate conflict. Both sides have their likeable characters, both sides seem from their view to be in the right, and pretty soon you, as the reader, will stop cheering for either one, because whenever one person that you like succeeds it means that another person whom you also like is failing.
In fact, the closest thing that this story has to a clearly-labeled “evil” character is the sorceress Lilias, and even then, she’s not evil so much as a woman who has done some bad things for completely understandable reasons. Lilias, in fact, is one of the most pitiful characters in this whole saga of pitiable characters, with her fears and attachments closely mirroring those of most readers, only amplified by her immortality and magical powers. She is afraid of dying. She wants to be more in the grand scheme of things than just another man’s wife or another country’s momentary ruler, both of which would just be tiny moments in a long history. She likes her youth. She likes having pretty things and pretty people around her. And from her interactions with her dragon mentor and apparently only friend, Calandor, we see that she is also capable of intense affection and even love just as she is capable of indulging in self-centered self-interest that, if not particularly a good trait, is also one that she is not alone in possessing.
Banewreaker, then, is a story with a large cast of characters but very few actual heroes or innocents as well as very few outright villains, which is exactly what it sets out to be. Those who love it and those who hate it both seem to blame this quality in particular for their feelings. The biggest complaint leveled against it (that I have read, anyway) is that the people we should be rooting for do not deserve our sympathy, while the people we should be rooting against are more misguided and unwilling to see things in another light than deserving of our scorn.
This is true. But if it’s a flaw, it’s an intentional one. And if it makes you feel like you shouldn’t be cheering for either side at all in this conflict, that’s the point. This is a story of clichés, yes, but it has something that it needs to say about these clichés and, in doing so, about the subjective and impossibly nebulous quality of morality in general.
In short, here again is another fantasy story about the Forces of Good wiping out an entire nation dedicated to their “evil” enemy. And as the story points out, even if you believe in that cause, you’re still wiping out an entire nation of people. No way is there not a downside to that. Seeing things in a black-and-white morality just means crushing a whole lot of important shades of gray underfoot.
Whether or not you like Banewreaker, then, depends in large part upon how much you realize that Carey as an author is being self-aware. As someone who read and still hasn’t stopped being awed over her Kushiel series, I can’t claim complete objectivity in this area, because I came to Banewreaker already in love with her. I can say, however, that unless you have an intense and searing aversion to ornate and sweeping style, this book is worth any fantasy-lover’s time – especially if you’ve ever felt a pang of empathy for all of the poor villainous mooks that fantasy heroes tend to mow down without a thought because they were the wrong kind of ugly.