Search
Search results
Thinkrolls: Kings & Queens
Education and Games
App
Thinkrolls Kings & Queens is an epic adventure of logic, physics and fun! Practice reasoning, memory...
i-Boating:New Zealand Marine Charts & Fishing Maps
Travel and Navigation
App
GPS Marine Charts App offers access to charts covering New Zealand waters (derived from LINZ(Land...
Endless Frontier Saga - RPG
Games
App
Endless Frontier is the best in idle role playing games for commanding your army of knights in a...
Card Wars - Adventure Time Card Game
Games and Entertainment
App
Floop the Pig! It’s Adventure Time CARD WARS! Play the game inspired by the Adventure Time...
Goddess in the Stacks (553 KP) rated Alanna: The First Adventure in Books
Apr 16, 2018
The Song of the Lioness quartet is Tamora Pierce's first set of books. I read her latest trilogy (the Beka Cooper trilogy) first, which didn't exactly prepare me for The Song of the Lioness. It's obvious, going from the latest trilogy to her first writing, how much her writing has matured since the 80s. My first thought upon completing Alanna: the First Adventure was "I'm very glad she's gotten better at writing!" The story itself is still interesting and worth reading, but the style is a little difficult to read when I KNOW how well she writes now. The characters are mostly one-dimensional; few of the side characters seem to have plots going or events happening to them when they're not with Alanna. Characters pop up, have a significant interaction with Alanna, and are gone again, with no indication they exist outside of their usefulness to the main character. This is in stark contrast to her latest work, where every character that has a significant role to play has a history of their own, and thoughts and feelings of their own. They're much more fleshed out in her recent books.
That complaint aside, the Alanna books are really the foundation that the rest of Tortall was built upon. It's interesting to see how Pierce has fleshed out some of the concepts she touched on in the Alanna saga, and it's fun to see where some of the things from the Beka Cooper trilogy originated. It also pays to keep in mind that though the Alanna books were written first, the Beka Cooper trilogy is based two hundred years earlier. We learn a lot more about the office of The Rogue in the Beka Cooper trilogy, something that isn't explained very well in the Alanna quartet, even though one of Alanna's main romantic interests is George Cooper (yes, a descendant of Beka!), the Rogue. Pierce also never explains the origins of Alanna's cat, Faithful, in the actual Alanna books. That explanation lies in the Beka Cooper books as well.
The Song of the Lioness quartet is the story of a girl who decides to rebel against tradition and follow her heart to become a knight. In her time, ladies simply do NOT become knights. They learn to organize households and marry well. Alanna, however, is lucky enough to have a twin brother who does not want to become a knight; instead Thom wants to be a mage. So when they're sent off to face their futures, they switch places, with Alanna becoming "Alan", the younger twin. (Thom stays Thom; the school that ladies are sent to is the same school mages start at.)
Alan/Alanna begins as a page, then moves to squire, and eventually a knight. Her secret is discovered, but due to her influential friends, most of whom knew she was a girl by then, she is able to keep her status. Her adventures take her from uncovering a plot against the royal family, to being adopted by a desert tribe, to recovering a magic jewel of prosperity, with many small adventures in between.
I love reading Pierce's heroines; both Alanna and Beka have problems reconciling their feminine natures with the work they've chosen. The scenes where Alanna's love interests see her in a dress for the first time, instead of her normal boy-garb and armor, is heart-warming in one case, and sad in another. In both womens' lives it's the man who can accept all of their aspects who ultimately wins their heart, which is a wonderful message.
Ultimately, the technical flaws in the writing of the Alanna saga faded as I became absorbed in the story. I'll be requesting more Tortall books from the library in the near future!
You can find all my reviews at http://goddessinthestacks.wordpress.com
That complaint aside, the Alanna books are really the foundation that the rest of Tortall was built upon. It's interesting to see how Pierce has fleshed out some of the concepts she touched on in the Alanna saga, and it's fun to see where some of the things from the Beka Cooper trilogy originated. It also pays to keep in mind that though the Alanna books were written first, the Beka Cooper trilogy is based two hundred years earlier. We learn a lot more about the office of The Rogue in the Beka Cooper trilogy, something that isn't explained very well in the Alanna quartet, even though one of Alanna's main romantic interests is George Cooper (yes, a descendant of Beka!), the Rogue. Pierce also never explains the origins of Alanna's cat, Faithful, in the actual Alanna books. That explanation lies in the Beka Cooper books as well.
The Song of the Lioness quartet is the story of a girl who decides to rebel against tradition and follow her heart to become a knight. In her time, ladies simply do NOT become knights. They learn to organize households and marry well. Alanna, however, is lucky enough to have a twin brother who does not want to become a knight; instead Thom wants to be a mage. So when they're sent off to face their futures, they switch places, with Alanna becoming "Alan", the younger twin. (Thom stays Thom; the school that ladies are sent to is the same school mages start at.)
Alan/Alanna begins as a page, then moves to squire, and eventually a knight. Her secret is discovered, but due to her influential friends, most of whom knew she was a girl by then, she is able to keep her status. Her adventures take her from uncovering a plot against the royal family, to being adopted by a desert tribe, to recovering a magic jewel of prosperity, with many small adventures in between.
I love reading Pierce's heroines; both Alanna and Beka have problems reconciling their feminine natures with the work they've chosen. The scenes where Alanna's love interests see her in a dress for the first time, instead of her normal boy-garb and armor, is heart-warming in one case, and sad in another. In both womens' lives it's the man who can accept all of their aspects who ultimately wins their heart, which is a wonderful message.
Ultimately, the technical flaws in the writing of the Alanna saga faded as I became absorbed in the story. I'll be requesting more Tortall books from the library in the near future!
You can find all my reviews at http://goddessinthestacks.wordpress.com
LEGO® Life
Entertainment
App
A safe community built specially for boys and girls, LEGO® Life is 100% free to download and 100%...
BankofMarquis (1832 KP) rated Doctor Strange in the Multiverse of Madness (2022) in Movies
May 9, 2022
Fun...with heart
Doctor Strange is my favorite Marvel character. This comes from my college days when one of my roommates had a stack of Dr. Strange comics and I tore through them - one of the few Marvel comics that I have actually read. So I was thrilled to find out that Sam Raimi was coming back (was he ever gone?) to direct the 2nd solo Dr. Strange film, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS.
And it does not disappoint for while DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is not quite as “mad” as one would expect by the build up to this film, it delivers solid action by actors playing characters that are easy to root for (or root against) all done with a wink in the eye and a focus on Marvel’s secret weapon…relationships and heart.
You will find no brooding “dark knights” in this one.
Sprightly Directed by Sam Raimi (THE EVIL DEAD), Multiverse (as I will call it from here on out) finds our titular hero (Benedict Cumberbatch) connecting with - and working to save - a multiverse hopping heroine in the form of America Chavez (Xochitl Gomez) from an evil that wishes to drain her of her multiverse hopping powers.
What happens next is a multiverse hopping action/adventure/horror/chase film that really shows off the cinematic sensibilities of Director Raimi who’s mark is all over this film…for the better. Multiverse swerves really close to being a horror film, but, fortunately for it’s box office fortunes, remains firmly in the action/adventure/superhero genre. Only a director like Raimi can ride this fine line as well as he has and it works for this film.
Cumberbatch, of course, is terrific as Doctor Stephen Strange and he slides, comfortably, back into the cloak and sling-ring. Benedict Wong (Wong - The Sorcerer Supreme), Rachel McAdams (Dr. Christine Palmer) and Chiwetel Ejiofor (Baron Mordo) all reprise their characters from the first film and they all seem re-energized in their roles for this one while Xochitl Gomez makes a winning debut as America Chavez.
But, make no mistake, the personae that steals this film is Elizabeth Olson as the grieving Wanda Maximoff/Scarlett Witch who Dr. Strange reaches out to when America Chavez falls into his lap. She is outstanding and is really the driving force here. It would not be a misnomer to say that this film easily could have been titled THE SCARLET WITCH IN THE MULTIVERSE OF MADNESS.
My one quibble with this film is that it doesn’t go to enough Multiverses to suit my tastes and is not quite as “mad” as one would hope - our hero does spend a rather large amount of time in one multiverse - but that is a minor issue and this one multiverse does bring many fun cameos…cameos that will not be spoiled here.
Which brings up one last point. See this film, if you can, in a theater full of the aforementioned fanboys. The full house IMAX theater that I caught this film in went absolutely nuts when one specific person showed his/her face for their extended cameo and that was a very fun time.
As is DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS - it works well as a stand alone film, but if you want to do “some homework”, check out the Disney+ TV Series WANDAVISION (essential), the first DOCTOR STRANGE movie (good background) and the animated Disney+ series MARVEL’S WHAT IF (some nice callbacks).
And, of course, stay for the end credits…it sets up DOCTOR STRANGE 3, a film that can’t get here soon enough.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And it does not disappoint for while DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is not quite as “mad” as one would expect by the build up to this film, it delivers solid action by actors playing characters that are easy to root for (or root against) all done with a wink in the eye and a focus on Marvel’s secret weapon…relationships and heart.
You will find no brooding “dark knights” in this one.
Sprightly Directed by Sam Raimi (THE EVIL DEAD), Multiverse (as I will call it from here on out) finds our titular hero (Benedict Cumberbatch) connecting with - and working to save - a multiverse hopping heroine in the form of America Chavez (Xochitl Gomez) from an evil that wishes to drain her of her multiverse hopping powers.
What happens next is a multiverse hopping action/adventure/horror/chase film that really shows off the cinematic sensibilities of Director Raimi who’s mark is all over this film…for the better. Multiverse swerves really close to being a horror film, but, fortunately for it’s box office fortunes, remains firmly in the action/adventure/superhero genre. Only a director like Raimi can ride this fine line as well as he has and it works for this film.
Cumberbatch, of course, is terrific as Doctor Stephen Strange and he slides, comfortably, back into the cloak and sling-ring. Benedict Wong (Wong - The Sorcerer Supreme), Rachel McAdams (Dr. Christine Palmer) and Chiwetel Ejiofor (Baron Mordo) all reprise their characters from the first film and they all seem re-energized in their roles for this one while Xochitl Gomez makes a winning debut as America Chavez.
But, make no mistake, the personae that steals this film is Elizabeth Olson as the grieving Wanda Maximoff/Scarlett Witch who Dr. Strange reaches out to when America Chavez falls into his lap. She is outstanding and is really the driving force here. It would not be a misnomer to say that this film easily could have been titled THE SCARLET WITCH IN THE MULTIVERSE OF MADNESS.
My one quibble with this film is that it doesn’t go to enough Multiverses to suit my tastes and is not quite as “mad” as one would hope - our hero does spend a rather large amount of time in one multiverse - but that is a minor issue and this one multiverse does bring many fun cameos…cameos that will not be spoiled here.
Which brings up one last point. See this film, if you can, in a theater full of the aforementioned fanboys. The full house IMAX theater that I caught this film in went absolutely nuts when one specific person showed his/her face for their extended cameo and that was a very fun time.
As is DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS - it works well as a stand alone film, but if you want to do “some homework”, check out the Disney+ TV Series WANDAVISION (essential), the first DOCTOR STRANGE movie (good background) and the animated Disney+ series MARVEL’S WHAT IF (some nice callbacks).
And, of course, stay for the end credits…it sets up DOCTOR STRANGE 3, a film that can’t get here soon enough.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Daniel Boyd (1066 KP) rated Mass Effect Trilogy in Video Games
Jul 25, 2017
An Example Of Why Dialogue Options In Video Games Are More Trouble Than They Are Worth
The first Mass Effect game was released 10 years ago this year and it pioneered many RPG mechanics that are still being used in RPG’s today. Like any pioneer, it spawned many clones that tried to emulate the cover based shooting mechanics that the game used, the romance situations that took place between the characters and the infamous dialogue options that the player could choose from during conversation cutscenes.
Mass Effect wasn’t the first game to do it, there are plenty of earlier examples of the mechanic being used before in games, such as the Fallout series. Bioware actually included the mechanic themselves in their earlier game in Knights Of The Old Republic, but its inclusion Mass Effect is what brought it to the mainstream and soon every developer was wanting a piece of the dialogue tree pie.
I never owned the original Mass Effect, the most exposure I got of it was through a few mates that owned the game at the time, but eventually the mechanic did end up creeping into games that I did own including; Alpha Protocall, Deus Ex, any Telltale game, The Amazing Spiderman 2, (for some reason,) and even in Uncharted 4.
As much as I enjoy a good ‘choose your own adventure,’ story and as much as I appreciate the trust that developers put in gamers to be able to tell their own story; whether that be through dialogue options, moral choices or customization options, I want you to tell me your story. I didn’t pay 50 quid to get given a setting and a bunch of characters to tell my own story. You guys get paid to craft amazingly immersive works of fiction, so do your job and suck me in. Whenever I’m playing a game with dialogue options and I am starting to get invested in the story and the characters, the inevitable dialogue tree pops up and takes me right out of the experience.
Sure, there are some movies that I watch and wonder why a writer or a director made a certain creative choice, but even if I don’t agree with the decision, it is the creator’s job to make those tough choices and that is what makes great art. One of my favorite movies of the last decade is Nicolas Winding Refn’s ‘Drive’ and that is purely because of the creative choices that the cast and crew made on that movie. I know people that hate Drive and I’m sure if given the option they would change it to be a less daring, more cookie cutter action thriller, but that wouldn’t have earned my respect like it has. Sometimes creators need to stop handholding the audience and make a tough call, even if it could potentially be a polarizing one.
In fact, when I think about it, all of my favorite stories are adored so much because of the definitive, drastic calls that they dare to make. I already spoke about Drive, Fight Club’s twist took some balls to pull off, the ambitious non linear storytelling of Pulp Fiction makes it iconic, Breaking Bad was consistently shocking and yet brilliant, MGS is insanely unconventional and I love it for it and The Last Of Us delivers a divisive finishing blow that we have no choice but to partake in.
That is how you tell a great story and that is how you stand out as a creator, by doing something that no one else could do, especially not your audience. When I come home after a long day at work, I don’t want to do much thinking. I want to relax and be told a story by the folks that are best at doing so. Personally, I think that you should believe in the story you are telling enough to make a definitive decision and if you don’t, is it really a story that’s worth telling?
Mass Effect wasn’t the first game to do it, there are plenty of earlier examples of the mechanic being used before in games, such as the Fallout series. Bioware actually included the mechanic themselves in their earlier game in Knights Of The Old Republic, but its inclusion Mass Effect is what brought it to the mainstream and soon every developer was wanting a piece of the dialogue tree pie.
I never owned the original Mass Effect, the most exposure I got of it was through a few mates that owned the game at the time, but eventually the mechanic did end up creeping into games that I did own including; Alpha Protocall, Deus Ex, any Telltale game, The Amazing Spiderman 2, (for some reason,) and even in Uncharted 4.
As much as I enjoy a good ‘choose your own adventure,’ story and as much as I appreciate the trust that developers put in gamers to be able to tell their own story; whether that be through dialogue options, moral choices or customization options, I want you to tell me your story. I didn’t pay 50 quid to get given a setting and a bunch of characters to tell my own story. You guys get paid to craft amazingly immersive works of fiction, so do your job and suck me in. Whenever I’m playing a game with dialogue options and I am starting to get invested in the story and the characters, the inevitable dialogue tree pops up and takes me right out of the experience.
Sure, there are some movies that I watch and wonder why a writer or a director made a certain creative choice, but even if I don’t agree with the decision, it is the creator’s job to make those tough choices and that is what makes great art. One of my favorite movies of the last decade is Nicolas Winding Refn’s ‘Drive’ and that is purely because of the creative choices that the cast and crew made on that movie. I know people that hate Drive and I’m sure if given the option they would change it to be a less daring, more cookie cutter action thriller, but that wouldn’t have earned my respect like it has. Sometimes creators need to stop handholding the audience and make a tough call, even if it could potentially be a polarizing one.
In fact, when I think about it, all of my favorite stories are adored so much because of the definitive, drastic calls that they dare to make. I already spoke about Drive, Fight Club’s twist took some balls to pull off, the ambitious non linear storytelling of Pulp Fiction makes it iconic, Breaking Bad was consistently shocking and yet brilliant, MGS is insanely unconventional and I love it for it and The Last Of Us delivers a divisive finishing blow that we have no choice but to partake in.
That is how you tell a great story and that is how you stand out as a creator, by doing something that no one else could do, especially not your audience. When I come home after a long day at work, I don’t want to do much thinking. I want to relax and be told a story by the folks that are best at doing so. Personally, I think that you should believe in the story you are telling enough to make a definitive decision and if you don’t, is it really a story that’s worth telling?
Lucy Buglass (45 KP) rated Fighting with My Family (2019) in Movies
Jun 20, 2019
A biopic that’s not just for wrestling fans
Let me make something clear before I dive into my review: I don’t like wrestling. Actually, I hate wrestling. I could barely name another wrestler aside from The Rock and John Cena, so at a glance this film really isn’t marketed towards me. But when we go a little deeper, it becomes clear that this is an incredibly accessible film with a powerful message.
Fighting With My Family tells the story of Norwich-born Saraya “Paige” Bevis. Brought up in a family of wrestlers, Bevis spent her life wrestling alongside her parents, brother and the local community, drawing in small crowds on a regular basis. The family has dreams of making WWE and becoming professional wrestlers, even going as far as sending audition tapes to the company. When Saraya and her brother Zak “Zodiac” are called for an official audition, the family’s lives change for better and for worse.
With an all-star cast including The Rock (obviously), Vince Vaughn, Nick Frost, Lena Headey and Florence Pugh, it’s an incredibly appealing film. Everyone involved takes to their roles effortlessly, bringing all the charm and quirks of the characters to life. It’s so easy to like the Knight family, as they come across as a strange yet passionate family who’d do everything in their power to support the community around them. It’s refreshing to see a depiction of working-class life that doesn’t make the audience sneer or judge. I found myself rooting for the Knights all the way, and wishing them all the best. Pugh embodies Paige so well, to the point where it was easy to believe you were watching the woman herself. She’s so awkward, British and hugely likeable throughout.
I was also surprised to learn that Stephen Merchant (yes, that Stephen Merchant) was at the helm of this film. I adored his direction style and hilarious cameo, making this an unlikely project that worked like a charm. Based off the documentary of the same name, Merchant brings his own unique vision to the project, with the legendary Dwayne Johnson helping out as an an executive producer. It feels like an unlikely duo, but it seriously works.
Fighting With My Family has classic British humour and a familiar grittiness to it, reminding me why I adore British cinema so much. There are clear tonal shifts between the UK and US, emphasising the cultural differences and how out of her depth Bevis felt at first. This is where a lot of the humour comes into play too, as a pale, pierced Norwich girl sticks out like a sore thumb amongst blonde, bronzed models. As Saraya steps into the world of WWE with the ring name “Paige”, she has to face numerous obstacles that are both mentally and physically challenging. As it happens, her identity is one of them, and she soon becomes an outcast.
Yes, this film is about one girl’s rise to the top of the WWE ranks, but it’s also so much more than that. It’s about family, class divide, jealousy, among others. I particularly enjoyed the dynamic between Saraya and Zak, as there’s a clear case of sibling rivalry here. Whilst Saraya succeeds, Zak is dealing with a whole host of personal issues whilst wallowing in his own sadness. This is jealousy on a massive scale, causing a rift between the siblings, and in turn, the rest of the family.
I loved the overall message that the film delivers: that it’s important to always be true to yourself, and do what makes you great. Whether that’s big or small, you can make an impact. This is something that Zak eventually learns whilst he’s feeling jealous of his sister’s success. The familial bond is so strong in this film, and it’s a truly beautiful thing to witness. They might be slightly bonkers, dysfunctional and off the wall, but they’d do anything to support each other. Isn’t that wonderful?
https://lucygoestohollywood.com/2019/03/21/a-biopic-thats-not-just-for-wrestling-fans-my-thoughts-on-fighting-with-my-family/
Fighting With My Family tells the story of Norwich-born Saraya “Paige” Bevis. Brought up in a family of wrestlers, Bevis spent her life wrestling alongside her parents, brother and the local community, drawing in small crowds on a regular basis. The family has dreams of making WWE and becoming professional wrestlers, even going as far as sending audition tapes to the company. When Saraya and her brother Zak “Zodiac” are called for an official audition, the family’s lives change for better and for worse.
With an all-star cast including The Rock (obviously), Vince Vaughn, Nick Frost, Lena Headey and Florence Pugh, it’s an incredibly appealing film. Everyone involved takes to their roles effortlessly, bringing all the charm and quirks of the characters to life. It’s so easy to like the Knight family, as they come across as a strange yet passionate family who’d do everything in their power to support the community around them. It’s refreshing to see a depiction of working-class life that doesn’t make the audience sneer or judge. I found myself rooting for the Knights all the way, and wishing them all the best. Pugh embodies Paige so well, to the point where it was easy to believe you were watching the woman herself. She’s so awkward, British and hugely likeable throughout.
I was also surprised to learn that Stephen Merchant (yes, that Stephen Merchant) was at the helm of this film. I adored his direction style and hilarious cameo, making this an unlikely project that worked like a charm. Based off the documentary of the same name, Merchant brings his own unique vision to the project, with the legendary Dwayne Johnson helping out as an an executive producer. It feels like an unlikely duo, but it seriously works.
Fighting With My Family has classic British humour and a familiar grittiness to it, reminding me why I adore British cinema so much. There are clear tonal shifts between the UK and US, emphasising the cultural differences and how out of her depth Bevis felt at first. This is where a lot of the humour comes into play too, as a pale, pierced Norwich girl sticks out like a sore thumb amongst blonde, bronzed models. As Saraya steps into the world of WWE with the ring name “Paige”, she has to face numerous obstacles that are both mentally and physically challenging. As it happens, her identity is one of them, and she soon becomes an outcast.
Yes, this film is about one girl’s rise to the top of the WWE ranks, but it’s also so much more than that. It’s about family, class divide, jealousy, among others. I particularly enjoyed the dynamic between Saraya and Zak, as there’s a clear case of sibling rivalry here. Whilst Saraya succeeds, Zak is dealing with a whole host of personal issues whilst wallowing in his own sadness. This is jealousy on a massive scale, causing a rift between the siblings, and in turn, the rest of the family.
I loved the overall message that the film delivers: that it’s important to always be true to yourself, and do what makes you great. Whether that’s big or small, you can make an impact. This is something that Zak eventually learns whilst he’s feeling jealous of his sister’s success. The familial bond is so strong in this film, and it’s a truly beautiful thing to witness. They might be slightly bonkers, dysfunctional and off the wall, but they’d do anything to support each other. Isn’t that wonderful?
https://lucygoestohollywood.com/2019/03/21/a-biopic-thats-not-just-for-wrestling-fans-my-thoughts-on-fighting-with-my-family/