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Sophia (Bookwyrming Thoughts) (530 KP) rated Telling Christina Goodbye in Books
Jan 23, 2020
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2013/02/review-telling-christina-goodbye-by-lurlene-mcdaniel.html">Bookwyrming Thoughts</a>
Original Rating: 3.5
*Formatting and image(s) have been lost due to copy and pasting.
I hate commenting about how much the synopsis gives away. I don't find much joy in reading the book when the synopsis gives spoilers away. And I hate giving it a lower rating because of that synopsis. But as much as I want to like this book, I'm gonna have to give it a facepalm. The synopsis practically gave away EVERYTHING. From the synopsis, cover AND title, the book already gives these things away (I don't think this counts as spoilers since the synopsis already says it):
~Trisha, Christina, Cody, and Tucker are Seniors.
~Best friends, Trisha and Christina are having a great year.
~Trisha is dating Cody. Christina is dating Tucker.
~Trisha doesn't get along with Tucker.
~Christina receives a scholarship from University of Vermont.
~Tucker is controlling of Christina and wants her to stay.
~They get into a car crash after a basketball game. Trisha is injured, Cody's in a coma and Christina's dead. Yet Tucker is all injure-less.
Not to mean it in a bad way, but that gives practically the entire plot and some other stuff. Maybe even the entire book. Besides some things, such as (those who read it would know the answers already, but I'm speaking from the reader's perspective of just examining the book at the bookstore and reading the synopsis and such):
~Does Cody wake up from the coma?
~Do those effected by Christina's death find the courage to move on and heal?
~Do Trisha and Tucker get along later?
~Etc, etc. One can only know the answers to their many questions when fully reading a book.
But despite the synopsis giving so much away, Ms. McDaniel still leaves the reader, regardless of whether just staring at it at the bookstore or anyplace or have to read it due to required reading, with many questions. Props for not giving the full story away, especially the ending. And while some of us may love spoilers to the point of actually spilling beans, some of us just like to keep things detailed yet vague on what's happening because we just love the suspense building up. It would've been a triple facepalm if the synopsis gave any more away (kinda explains the meme).
If you're still thinking I'm being a bit negative, the only part I found pretty bad was how the synopsis gave it all away (I'm that person who hates too much spoilers and end up predicting and being right majority of the time. I kinda like my dose of keeping me guessing...).
In many good parts (of the pie or something good), Ms McDaniel manages to narrow in with an emotional story while weaving in the meaning of losing a cared one and to not take life fully for granted, because you never know when it will all end and it may be someone or something very close to you. (Kinda reminds me of a sad song...)
Original Rating: 3.5
*Formatting and image(s) have been lost due to copy and pasting.
I hate commenting about how much the synopsis gives away. I don't find much joy in reading the book when the synopsis gives spoilers away. And I hate giving it a lower rating because of that synopsis. But as much as I want to like this book, I'm gonna have to give it a facepalm. The synopsis practically gave away EVERYTHING. From the synopsis, cover AND title, the book already gives these things away (I don't think this counts as spoilers since the synopsis already says it):
~Trisha, Christina, Cody, and Tucker are Seniors.
~Best friends, Trisha and Christina are having a great year.
~Trisha is dating Cody. Christina is dating Tucker.
~Trisha doesn't get along with Tucker.
~Christina receives a scholarship from University of Vermont.
~Tucker is controlling of Christina and wants her to stay.
~They get into a car crash after a basketball game. Trisha is injured, Cody's in a coma and Christina's dead. Yet Tucker is all injure-less.
Not to mean it in a bad way, but that gives practically the entire plot and some other stuff. Maybe even the entire book. Besides some things, such as (those who read it would know the answers already, but I'm speaking from the reader's perspective of just examining the book at the bookstore and reading the synopsis and such):
~Does Cody wake up from the coma?
~Do those effected by Christina's death find the courage to move on and heal?
~Do Trisha and Tucker get along later?
~Etc, etc. One can only know the answers to their many questions when fully reading a book.
But despite the synopsis giving so much away, Ms. McDaniel still leaves the reader, regardless of whether just staring at it at the bookstore or anyplace or have to read it due to required reading, with many questions. Props for not giving the full story away, especially the ending. And while some of us may love spoilers to the point of actually spilling beans, some of us just like to keep things detailed yet vague on what's happening because we just love the suspense building up. It would've been a triple facepalm if the synopsis gave any more away (kinda explains the meme).
If you're still thinking I'm being a bit negative, the only part I found pretty bad was how the synopsis gave it all away (I'm that person who hates too much spoilers and end up predicting and being right majority of the time. I kinda like my dose of keeping me guessing...).
In many good parts (of the pie or something good), Ms McDaniel manages to narrow in with an emotional story while weaving in the meaning of losing a cared one and to not take life fully for granted, because you never know when it will all end and it may be someone or something very close to you. (Kinda reminds me of a sad song...)
LeftSideCut (3776 KP) rated The Mandalorian - Season 1 in TV
May 5, 2020
A live action series set in the Star Wars universe has been a long time coming and thankfully, it hit almost all the right notes.
The Mandalorian is set after the events of Return of the Jedi, where the empire is all but gone, and the titular hero is going about his business, taking bounty jobs for good pay. It's not too long before it's revealed that remnants of the empire remain intact and one unexpected bounty job sets Mando on a different path entirely.
The plot isn't too heavy on dramatics for the most part, and the 8 episode arc concentrates on small stories - mini adventures that are resolved relatively quickly. It's a lot of fun. The final two episodes set up a larger narrative, that has me excited for season 2.
The Mandalorian himself (Pedro Pascal) is a great lead, and considering his face is covered the entire time, that's high praise. He has a cold, precise exterior, and shows off frequently his capabilities as a warrior (every episode has a pretty awesome action set piece at one point). Underneath it all, his humanity is shown when The Child (commonly know as Baby Yoda) is thrown into his care, drawing paraells with his own childhood.
The Child arguably steals the show at intervals, being offensively cute throughout, and showing hints at force powers here and there.
Other cast members include Cara Dune (Gina Carano), a completely badass ex Imperial Shock Trooper. Her character is another highlight, and I sincerely hope to see her return for season 2.
Greef Karga (Carl freaking Weathers), bounty salesman and sometimes ally of Mando. The three of them (plus The Child) make for a damn fine crew.
Some further Star power is provided by IG-11 (Taika Waititi) and Kuiil (Nick Nolte) and these two characters further flesh out a great cast.
The villains of the piece aren't in your face, but are present enough to lay the seeds for bigger things to come. Earlier on we have The Client (Werner Herzog oozing text book evil empire vibes), and a bit later, Moff Gideon (Giancarlo Esposito), who is menacing enough to make an impact with his little screentime.
I also enjoyed the fleshing out of the Mandalorian religion.
There is some great directing talent in display as well, with episode from the likes of the aforementioned Taika Waititi, Deborah Chow, Dave Filoni, Bryce Dallas Howard, and Rick Famuyiwa. They've all down a great job of bringing this particular Star Wars narrative to life, and I genuinely enjoyed every episode.
Except for episode 6. And thats mainly due to the throwaway characters we get given. (It reminded me of that infamous shitty episode in season 2 of Stranger Things.)
The devotion to using practical effects pays off tremendously, as The Mandalorian frequently looks superb. The CGI used is actually pretty subtle, and the mix of the two works.
All in all, it's a strong first season that personally tops any of the recent trilogy in terms of Star Wars material. Can't wait to see where it goes!
The Mandalorian is set after the events of Return of the Jedi, where the empire is all but gone, and the titular hero is going about his business, taking bounty jobs for good pay. It's not too long before it's revealed that remnants of the empire remain intact and one unexpected bounty job sets Mando on a different path entirely.
The plot isn't too heavy on dramatics for the most part, and the 8 episode arc concentrates on small stories - mini adventures that are resolved relatively quickly. It's a lot of fun. The final two episodes set up a larger narrative, that has me excited for season 2.
The Mandalorian himself (Pedro Pascal) is a great lead, and considering his face is covered the entire time, that's high praise. He has a cold, precise exterior, and shows off frequently his capabilities as a warrior (every episode has a pretty awesome action set piece at one point). Underneath it all, his humanity is shown when The Child (commonly know as Baby Yoda) is thrown into his care, drawing paraells with his own childhood.
The Child arguably steals the show at intervals, being offensively cute throughout, and showing hints at force powers here and there.
Other cast members include Cara Dune (Gina Carano), a completely badass ex Imperial Shock Trooper. Her character is another highlight, and I sincerely hope to see her return for season 2.
Greef Karga (Carl freaking Weathers), bounty salesman and sometimes ally of Mando. The three of them (plus The Child) make for a damn fine crew.
Some further Star power is provided by IG-11 (Taika Waititi) and Kuiil (Nick Nolte) and these two characters further flesh out a great cast.
The villains of the piece aren't in your face, but are present enough to lay the seeds for bigger things to come. Earlier on we have The Client (Werner Herzog oozing text book evil empire vibes), and a bit later, Moff Gideon (Giancarlo Esposito), who is menacing enough to make an impact with his little screentime.
I also enjoyed the fleshing out of the Mandalorian religion.
There is some great directing talent in display as well, with episode from the likes of the aforementioned Taika Waititi, Deborah Chow, Dave Filoni, Bryce Dallas Howard, and Rick Famuyiwa. They've all down a great job of bringing this particular Star Wars narrative to life, and I genuinely enjoyed every episode.
Except for episode 6. And thats mainly due to the throwaway characters we get given. (It reminded me of that infamous shitty episode in season 2 of Stranger Things.)
The devotion to using practical effects pays off tremendously, as The Mandalorian frequently looks superb. The CGI used is actually pretty subtle, and the mix of the two works.
All in all, it's a strong first season that personally tops any of the recent trilogy in terms of Star Wars material. Can't wait to see where it goes!
Sarah (7800 KP) rated Crime Scene: The Vanishing at the Cecil Hotel in TV
Feb 22, 2021
Scarily glamourises internet sleuthing
Crime Scene: The Vanishing at the Cecil Hotel is the latest stylised true crime documentary from Netflix, and it’s a pretty scary watch, but not in the way you’d expect from something that has been advertised as a supernatural murder mystery.
The 4 episode documentary series focuses on a notorious hotel in downtown L.A, Hotel Cecil, and the disappearance of a Canadian student, Elisa Lam, who went missing from the hotel in unexplained circumstances and who was later found dead. On paper this has everything a true crime lover wants: CCTV footage of the victim acting strangely, a creepy hotel with a dodgy history and a lot of strange and unusual circumstances, which culminates in Elisa Lam’s decomposing body being found in a water tank on the hotel roof days after her disappearance, the same water that the hotel guests have been drinking all along. It’s a truly fascinating story and if done properly, would have been very interesting. However in the hands of director Joe Berlinger, the disappearance of Elisa Lam has been turned into a dull, drawn out affair that dangerously glamourises baseless conspiracy theories.
One of the two main problems is that this documentary has been drawn out over 4 hour long episodes, when realistically the true story of Elisa Lam’s disappearance could still have been told effectively in an hour, maybe two maximum, without detracting from the facts. And I guess that’s really the problem with The Vanishing at the Cecil Hotel, it isn’t necessarily all that concerned about the facts but rather just wants to create a film-like entertaining story, with the facts almost an afterthought crammed into the final parts of the last episode. It features lengthy and pointless interviews from other guests and tourists to try and give us a feel of what life at the Cecil was like, and these are entirely unnecessary, as some short exposition from the hotel manager or officers involved would’ve sufficed. Every part of this case is stretched so thinly that you almost lose track after having to weed out the truth and facts amongst all the irrelevant interviews and chatter. It isn’t helped by the narration of some of Elisa’s Tumblr posts, which comes across as cheesy and irritating rather than emotional and meaningful like it was probably intended.
What is most irrelevant and dangerous about this documentary, and the second main problem, is the focus on internet sleuths. These are mostly YouTubers who have spent hours dissecting every aspect of the case and have put forward many outrageous theories, all of which are completely laughable. But instead of mocking these idiots, this documentary glamourises them and their theories, and has dedicated more of it’s runtime to them than it has to any of the real life detectives and investigators involved. Watching these people wheel out one ridiculous theory after another had me wanting to throw my remote at the screen to make it stop. The theories ranged from the questionably plausible (foul player or murder) to the downright ludicrous - someone copying the film Dark Water, possible links to the Lam-Elisa TB test and a vast cover up jointly orchestrated by the police, hotel management and coroners staff are the ones that made me laugh and cringe the most.
All jokes aside, this focus on internet sleuths is extremely damaging and dangerous and this is illustrated by the awful accusations they made about Pablo Vergara aka Morbid, who’s only crime was to make music that wouldn’t be considered mainstream. If this documentary had focused on slamming these people and highlighting the dangers of them getting involved, then it would’ve redeemed itself. But it doesn’t, it gives them centre stage and debunking their theories is almost an afterthought. They aren’t even condemned for their treatment of Pablo despite the obviously long lasting effects on his mental health. These people are crazy and this only serves to highlight the huge problem with internet, video streaming sites and social media – how Joe public can ever think they know better than qualified pathologists and investigators is beyond me. And how this documentary can indulge and glamourise these people is even worse. From working a day job in the emergency services, I know how damaging this sort of interference and public perception can be.
The story of Elisa Lam’s disappearance at the Hotel Cecil is undoubtedly an interesting one. However in Crime Scene: The Vanishing at the Cecil Hotel, the real story has been mauled and disrespected by the focus and respect given to the internet sleuths and their absurd theories. I feel like I’m being generous giving it a 3, it made me so angry.
The 4 episode documentary series focuses on a notorious hotel in downtown L.A, Hotel Cecil, and the disappearance of a Canadian student, Elisa Lam, who went missing from the hotel in unexplained circumstances and who was later found dead. On paper this has everything a true crime lover wants: CCTV footage of the victim acting strangely, a creepy hotel with a dodgy history and a lot of strange and unusual circumstances, which culminates in Elisa Lam’s decomposing body being found in a water tank on the hotel roof days after her disappearance, the same water that the hotel guests have been drinking all along. It’s a truly fascinating story and if done properly, would have been very interesting. However in the hands of director Joe Berlinger, the disappearance of Elisa Lam has been turned into a dull, drawn out affair that dangerously glamourises baseless conspiracy theories.
One of the two main problems is that this documentary has been drawn out over 4 hour long episodes, when realistically the true story of Elisa Lam’s disappearance could still have been told effectively in an hour, maybe two maximum, without detracting from the facts. And I guess that’s really the problem with The Vanishing at the Cecil Hotel, it isn’t necessarily all that concerned about the facts but rather just wants to create a film-like entertaining story, with the facts almost an afterthought crammed into the final parts of the last episode. It features lengthy and pointless interviews from other guests and tourists to try and give us a feel of what life at the Cecil was like, and these are entirely unnecessary, as some short exposition from the hotel manager or officers involved would’ve sufficed. Every part of this case is stretched so thinly that you almost lose track after having to weed out the truth and facts amongst all the irrelevant interviews and chatter. It isn’t helped by the narration of some of Elisa’s Tumblr posts, which comes across as cheesy and irritating rather than emotional and meaningful like it was probably intended.
What is most irrelevant and dangerous about this documentary, and the second main problem, is the focus on internet sleuths. These are mostly YouTubers who have spent hours dissecting every aspect of the case and have put forward many outrageous theories, all of which are completely laughable. But instead of mocking these idiots, this documentary glamourises them and their theories, and has dedicated more of it’s runtime to them than it has to any of the real life detectives and investigators involved. Watching these people wheel out one ridiculous theory after another had me wanting to throw my remote at the screen to make it stop. The theories ranged from the questionably plausible (foul player or murder) to the downright ludicrous - someone copying the film Dark Water, possible links to the Lam-Elisa TB test and a vast cover up jointly orchestrated by the police, hotel management and coroners staff are the ones that made me laugh and cringe the most.
All jokes aside, this focus on internet sleuths is extremely damaging and dangerous and this is illustrated by the awful accusations they made about Pablo Vergara aka Morbid, who’s only crime was to make music that wouldn’t be considered mainstream. If this documentary had focused on slamming these people and highlighting the dangers of them getting involved, then it would’ve redeemed itself. But it doesn’t, it gives them centre stage and debunking their theories is almost an afterthought. They aren’t even condemned for their treatment of Pablo despite the obviously long lasting effects on his mental health. These people are crazy and this only serves to highlight the huge problem with internet, video streaming sites and social media – how Joe public can ever think they know better than qualified pathologists and investigators is beyond me. And how this documentary can indulge and glamourise these people is even worse. From working a day job in the emergency services, I know how damaging this sort of interference and public perception can be.
The story of Elisa Lam’s disappearance at the Hotel Cecil is undoubtedly an interesting one. However in Crime Scene: The Vanishing at the Cecil Hotel, the real story has been mauled and disrespected by the focus and respect given to the internet sleuths and their absurd theories. I feel like I’m being generous giving it a 3, it made me so angry.
Jordan Binkerd (567 KP) rated The Scorpion King 3: Battle For Redemption (2012) in Movies
Oct 27, 2019
Victor Webster sells the fights (5 more)
Ron Perlman is never a bad thing.
Neither is Temura Morrison.
Billy Zane is comically evil
Krystal Vee and Selina Lo pull off their reason for being here - hot chicks kicking ass.
Nice scenery and sets
Victor Webster fails to sell being The Rock, even aside from skin ton (2 more)
The story and lore are all over the place, not helped by the setting
The Warriors of the book announcing themselves just felt silly and contrived
Muddies the franchise and lore
The longer this goes the more damage this franchise does to itself. Let's review what we've seen so far:
-The Mummy Returns: At the end of his life, the Scorpion King leads an army to take over and subjugate the world, aided by Anubis, which proves that the Egyptian gods are, you know, gods.
-The Scorpion King: Mathayus is ostensibly the last living Akkadian, and leads a revolt against an evil king who....wants to take over and subjugate the world. Some tragic irony there, knowing where he ends up.
-The Scorpion King II: Rise of a Warrior: There's a whole kingdom of Akkadians, and Mathayus leads a revolt against the general who killed both his father and the rightful King, usurping the throne. Given that just a decade or two later the entire race has been wiped out, maybe putting the rightful heir back on the throne didn't end well?
Which brings us to this movie, featuring numerous human characters with the names of the Egyptian pantheon (maybe named in homage to their gods, but it feels like the idea is that these men will be mistaken for God's by myth and legend) and doubles down on the "conquest is evil" theme. Mathayus has lost his queen and kingdom from the first film to plague, reduced to being a mercenary again. The action primarily happens in Egypt and.... Cambodia? Vietnam? Thailand? Somewhere around there, with little explanation of how the characters go that distance. This just makes the whole thing more inconsistent and convoluted. I shudder to think about the damage the next one will do....
-The Mummy Returns: At the end of his life, the Scorpion King leads an army to take over and subjugate the world, aided by Anubis, which proves that the Egyptian gods are, you know, gods.
-The Scorpion King: Mathayus is ostensibly the last living Akkadian, and leads a revolt against an evil king who....wants to take over and subjugate the world. Some tragic irony there, knowing where he ends up.
-The Scorpion King II: Rise of a Warrior: There's a whole kingdom of Akkadians, and Mathayus leads a revolt against the general who killed both his father and the rightful King, usurping the throne. Given that just a decade or two later the entire race has been wiped out, maybe putting the rightful heir back on the throne didn't end well?
Which brings us to this movie, featuring numerous human characters with the names of the Egyptian pantheon (maybe named in homage to their gods, but it feels like the idea is that these men will be mistaken for God's by myth and legend) and doubles down on the "conquest is evil" theme. Mathayus has lost his queen and kingdom from the first film to plague, reduced to being a mercenary again. The action primarily happens in Egypt and.... Cambodia? Vietnam? Thailand? Somewhere around there, with little explanation of how the characters go that distance. This just makes the whole thing more inconsistent and convoluted. I shudder to think about the damage the next one will do....
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Mandy and G.D. Burkhead (26 KP) rated Poison Study (Study, #1) in Books
May 20, 2018
Shelf Life – The Chronicles of Ixia merits closer study
Contains spoilers, click to show
This review is for the entire Chronicles of Ixia series.
The first trilogy, comprised of Poison Study, Fire Study, and Magic Study, follows Yelena Zaltana. The second series, also called the Glass series, follows her friend Opal Cowan in Storm Glass, Sea Glass, and Spy Glass. The final trilogy, Shadow Study, Night Study, and Dawn Study, is where things get a bit odd. Maria V. Snyder had thrown in a few short stories/novellas throughout from different characters’ points of view. Perhaps she got bored of just sticking to one POV, or maybe fans wanted more from the other characters, so the third trilogy is from Yelena’s POV in first person and the POV’s of multiple characters (mainly Valek, Leif, and Janco, with a few others popping in from time to time) in third person.
I’m not sure which editor thought it would be a good idea to have POV switch from first person to third person in the same novel, but—yikes—is it jarring. Even with the wonky POV stuff in the third trilogy, these books are amazing and absolutely worth your time to read. Snyder’s world-building is compelling, detailed, and original. The books take place mostly between two pre-industrial countries: Ixia and Sitia. Ixia is a post-revolution country ruled by Commander Ambrose. His personal body guard and assassin is Valek. In the first novel Yelena is in prison for murder and is offered the choice to be the Commander’s food taster in exchange for her life. She agrees, and throughout the first book she and Valek begin to fall in love.
Ixia reminded me a lot of Communist Russia or China. In its attempts to throw away the corrupt government and society that came before, it has also thrown out all culture in the process. The country has been re-divided into districts with numbers instead of names, everyone is forced to wear a uniform, all art and extravagance has been destroyed, people have to have passes to travel between districts, and magic is forbidden. Anyone born with it is killed (or so the reader is led to believe). But Maria V. Snyder does a wonderful job of showing the good with the bad in this totalitarian dictatorship. Everyone has a job and nobody goes hungry, women are now equal to men, and violence and sexual assault are intolerable. This is why Yelena ends up in prison in the first place: she murdered the man that raped her. Now, this is probably my first major gripe with the series. We learn that Commander Ambrose loathes sexual assault and will execute anyone found guilty of it, but apparently killing a rapist in self-defense is also an executable offense. And all of that being said, Ambrose still has his own personal assassin. It all feels a bit contradictory, but again, that’s what I like about this series: it does an excellent job of peeling back the layers of her fictional societies and pointing out that governments and people in power tend to be hypocritical.
Now, the series name (or rather one of them) is Chronicles of Ixia, but honestly, it should have been called Chronicles of Sitia, because that is where most of the story takes place and is by far the more interesting and vibrant country. Sitia is part jungle, part desert, and full of magic. The peoples are divided into multiple clans or tribes that are all unique and compelling. In the second book, Yelena flees to Sitia after the Commander learns she has magic, and there she finds the family she was kidnapped from as a small child. They are part of the Zaltana clan, a group of people that live high in the trees in the jungle. Whenever I read about them, I would have to remind myself that they were not wood elves or dryads, because while there is magic in these books, there are no fantastical creatures: all characters are human or animal.
Another fascinating tribe is the Sandseeds, a group of nomads in the desert known for two major things: breeding super smart horses and having Storyweavers. The Storyweavers are people who have the magical ability to see the future and guide others, but who have to do it really cryptically because reasons (I appreciate that this gets pointed out by an annoyed Yelena multiple times). And of course, the Sandseed horses are fantastic; they choose their rider and able to mentally communicate with magical people. They even have their own horse names for people that they like.
Besides the different clans throughout Sitia, there is also the capitol, the Citadel, which is home to the magic school and the Sitian Council. While very different from Ixia, Sitia is by no means perfect. Its Council epitomizes everything annoying and dysfunctional about a bureaucracy. While the council members are elected and come from every clan in Sitia, they are at best useless and at worst actively impede the main characters.
The magic school is interesting, though the story doesn’t actually spend much time there. I like how magic was done in this series: it usually runs in families, most people with it have control over one or two things (ie. fire, mind-control, telepathy, etc.), but those who have the ability to master more can become Master Magicians after enduring a daunting trial. Magic is bound in people’s blood, so blood magic is a thing and is obviously bad, and magic (and a person’s soul) can be stolen using an intricate and gruesome blood ritual that involves prolonged torture, rape, and then murder.
The power blanket is another interesting concept used in this series. Essentially is resides over the entire world and is the essence of magic, so magicians can pull from it to augment their own magic. However, if they pull too much and lose control, they can flame out, killing themselves and temporarily damaging the blanket in the process. I thought this was a good literary tool to prevent magical characters from being too OP (at least most of the time).
I especially like the romantic relationships in this series. Valek and Yelena are of course the main couple. In the first book they fall in love, in the second book they get separated, and throughout the series they regularly cross paths and save one another. Yelena and Valek are heartmates, and as the series progresses they both have to mature and learn how to trust one another. My biggest complaint about the romance is that all sex scenes are just fade to black, which I personally find a bit boring.
The other major romantic relationship is between Opal and Devlen. This one was a bit awkward. Opal actually goes through a couple of guys first: a stormdancer named Kade and another glassmaker named Ulrick. And I really liked that the author included this. Many people have multiple partners before finding their soulmate, and a woman who does is not a slut. Her relationship with Devlen, however . . . Well, she’s a more forgiving person than me.
You see, it turns out that Devlen is the man who kidnapped Opal a few years earlier and tortured her because he was trying to steal her magic. But he didn’t actually enjoy torturing her and never raped her, which I guess makes it better? Well, he manages to switch bodies with Ulrick and, as Ulrick, tricks Opal into dating him, then, when he’s discovered, kidnaps and tortures her (again) to gain more power. But then she steals his magic, he spends some time in prison, and the combination of the two miraculously turn him into a good guy, claiming that magic is what made him evil in the first place.
I’m going to be honest, I didn’t completely buy his redemption arc even at the end of the third book in the Glass series, but by the ninth book they’re still together and he’s on the good guys’ side, so I guess it was real. And I have definitely watched/read much worse evil asshole to boyfriend stories. At least Devlen genuinely feels guilty for the horrible things he did in the past and attempts to make up for them, and in her defense, Opal has to do a lot of soul-searching before she can find it in her to forgive and trust him, and even more before she can develop romantic feelings for him (that aren’t based on deception, anyway). Also, Ulrick becomes a huge jerk because of his newfound magical abilities, tries to kill Opal, and later gets assassinated by Valek. I appreciate what Maria V. Snyder is trying to do here, which is to teach through her storytelling how good people can become evil, and evil people can redeem themselves and be good. Their romance was uncomfortable to read, but it was supposed to be uncomfortable, because that’s how all parties involved felt.
Now, let’s talk about Commander Ambrose. Towards the end of the first book, Yelena discovers that Ambrose is a female to male trans person. This is revealed to be why Ambrose hates magicians so much: he is afraid that one of them will read his mind and then reveal his secret (which is how Yelena discovers it). After I read the first book, I was really pleased that Snyder did such a good job of depicting a trans person, as that’s really only a small part of his character, and those who know (mainly Valek and Yelena) don’t make a big deal out of it.
And then . . . I really wish that the author would have just left the issue of the Commander being trans alone. Yelena discovers it in the first book, she keeps it to herself because it’s nobody else’s business, the end. But by creating this weird intricate background to explain why Ambrose is trans, Snyder just kind of shoots herself in the foot.
Throughout the rest of the series, I kept hoping for some other LGBTQ+ characters to show up to redeem the blunder with Ambrose. I actually believed that Ari and Janco were a gay couple for the longest time, what with their banter and often being referred to as partners. However, if this was the author’s intention, it was never really explicitly stated, and the partner thing just seems to refer to them being partners in combat and nothing else.
The first trilogy, comprised of Poison Study, Fire Study, and Magic Study, follows Yelena Zaltana. The second series, also called the Glass series, follows her friend Opal Cowan in Storm Glass, Sea Glass, and Spy Glass. The final trilogy, Shadow Study, Night Study, and Dawn Study, is where things get a bit odd. Maria V. Snyder had thrown in a few short stories/novellas throughout from different characters’ points of view. Perhaps she got bored of just sticking to one POV, or maybe fans wanted more from the other characters, so the third trilogy is from Yelena’s POV in first person and the POV’s of multiple characters (mainly Valek, Leif, and Janco, with a few others popping in from time to time) in third person.
I’m not sure which editor thought it would be a good idea to have POV switch from first person to third person in the same novel, but—yikes—is it jarring. Even with the wonky POV stuff in the third trilogy, these books are amazing and absolutely worth your time to read. Snyder’s world-building is compelling, detailed, and original. The books take place mostly between two pre-industrial countries: Ixia and Sitia. Ixia is a post-revolution country ruled by Commander Ambrose. His personal body guard and assassin is Valek. In the first novel Yelena is in prison for murder and is offered the choice to be the Commander’s food taster in exchange for her life. She agrees, and throughout the first book she and Valek begin to fall in love.
Ixia reminded me a lot of Communist Russia or China. In its attempts to throw away the corrupt government and society that came before, it has also thrown out all culture in the process. The country has been re-divided into districts with numbers instead of names, everyone is forced to wear a uniform, all art and extravagance has been destroyed, people have to have passes to travel between districts, and magic is forbidden. Anyone born with it is killed (or so the reader is led to believe). But Maria V. Snyder does a wonderful job of showing the good with the bad in this totalitarian dictatorship. Everyone has a job and nobody goes hungry, women are now equal to men, and violence and sexual assault are intolerable. This is why Yelena ends up in prison in the first place: she murdered the man that raped her. Now, this is probably my first major gripe with the series. We learn that Commander Ambrose loathes sexual assault and will execute anyone found guilty of it, but apparently killing a rapist in self-defense is also an executable offense. And all of that being said, Ambrose still has his own personal assassin. It all feels a bit contradictory, but again, that’s what I like about this series: it does an excellent job of peeling back the layers of her fictional societies and pointing out that governments and people in power tend to be hypocritical.
Now, the series name (or rather one of them) is Chronicles of Ixia, but honestly, it should have been called Chronicles of Sitia, because that is where most of the story takes place and is by far the more interesting and vibrant country. Sitia is part jungle, part desert, and full of magic. The peoples are divided into multiple clans or tribes that are all unique and compelling. In the second book, Yelena flees to Sitia after the Commander learns she has magic, and there she finds the family she was kidnapped from as a small child. They are part of the Zaltana clan, a group of people that live high in the trees in the jungle. Whenever I read about them, I would have to remind myself that they were not wood elves or dryads, because while there is magic in these books, there are no fantastical creatures: all characters are human or animal.
Another fascinating tribe is the Sandseeds, a group of nomads in the desert known for two major things: breeding super smart horses and having Storyweavers. The Storyweavers are people who have the magical ability to see the future and guide others, but who have to do it really cryptically because reasons (I appreciate that this gets pointed out by an annoyed Yelena multiple times). And of course, the Sandseed horses are fantastic; they choose their rider and able to mentally communicate with magical people. They even have their own horse names for people that they like.
Besides the different clans throughout Sitia, there is also the capitol, the Citadel, which is home to the magic school and the Sitian Council. While very different from Ixia, Sitia is by no means perfect. Its Council epitomizes everything annoying and dysfunctional about a bureaucracy. While the council members are elected and come from every clan in Sitia, they are at best useless and at worst actively impede the main characters.
The magic school is interesting, though the story doesn’t actually spend much time there. I like how magic was done in this series: it usually runs in families, most people with it have control over one or two things (ie. fire, mind-control, telepathy, etc.), but those who have the ability to master more can become Master Magicians after enduring a daunting trial. Magic is bound in people’s blood, so blood magic is a thing and is obviously bad, and magic (and a person’s soul) can be stolen using an intricate and gruesome blood ritual that involves prolonged torture, rape, and then murder.
The power blanket is another interesting concept used in this series. Essentially is resides over the entire world and is the essence of magic, so magicians can pull from it to augment their own magic. However, if they pull too much and lose control, they can flame out, killing themselves and temporarily damaging the blanket in the process. I thought this was a good literary tool to prevent magical characters from being too OP (at least most of the time).
I especially like the romantic relationships in this series. Valek and Yelena are of course the main couple. In the first book they fall in love, in the second book they get separated, and throughout the series they regularly cross paths and save one another. Yelena and Valek are heartmates, and as the series progresses they both have to mature and learn how to trust one another. My biggest complaint about the romance is that all sex scenes are just fade to black, which I personally find a bit boring.
The other major romantic relationship is between Opal and Devlen. This one was a bit awkward. Opal actually goes through a couple of guys first: a stormdancer named Kade and another glassmaker named Ulrick. And I really liked that the author included this. Many people have multiple partners before finding their soulmate, and a woman who does is not a slut. Her relationship with Devlen, however . . . Well, she’s a more forgiving person than me.
You see, it turns out that Devlen is the man who kidnapped Opal a few years earlier and tortured her because he was trying to steal her magic. But he didn’t actually enjoy torturing her and never raped her, which I guess makes it better? Well, he manages to switch bodies with Ulrick and, as Ulrick, tricks Opal into dating him, then, when he’s discovered, kidnaps and tortures her (again) to gain more power. But then she steals his magic, he spends some time in prison, and the combination of the two miraculously turn him into a good guy, claiming that magic is what made him evil in the first place.
I’m going to be honest, I didn’t completely buy his redemption arc even at the end of the third book in the Glass series, but by the ninth book they’re still together and he’s on the good guys’ side, so I guess it was real. And I have definitely watched/read much worse evil asshole to boyfriend stories. At least Devlen genuinely feels guilty for the horrible things he did in the past and attempts to make up for them, and in her defense, Opal has to do a lot of soul-searching before she can find it in her to forgive and trust him, and even more before she can develop romantic feelings for him (that aren’t based on deception, anyway). Also, Ulrick becomes a huge jerk because of his newfound magical abilities, tries to kill Opal, and later gets assassinated by Valek. I appreciate what Maria V. Snyder is trying to do here, which is to teach through her storytelling how good people can become evil, and evil people can redeem themselves and be good. Their romance was uncomfortable to read, but it was supposed to be uncomfortable, because that’s how all parties involved felt.
Now, let’s talk about Commander Ambrose. Towards the end of the first book, Yelena discovers that Ambrose is a female to male trans person. This is revealed to be why Ambrose hates magicians so much: he is afraid that one of them will read his mind and then reveal his secret (which is how Yelena discovers it). After I read the first book, I was really pleased that Snyder did such a good job of depicting a trans person, as that’s really only a small part of his character, and those who know (mainly Valek and Yelena) don’t make a big deal out of it.
And then . . . I really wish that the author would have just left the issue of the Commander being trans alone. Yelena discovers it in the first book, she keeps it to herself because it’s nobody else’s business, the end. But by creating this weird intricate background to explain why Ambrose is trans, Snyder just kind of shoots herself in the foot.
Throughout the rest of the series, I kept hoping for some other LGBTQ+ characters to show up to redeem the blunder with Ambrose. I actually believed that Ari and Janco were a gay couple for the longest time, what with their banter and often being referred to as partners. However, if this was the author’s intention, it was never really explicitly stated, and the partner thing just seems to refer to them being partners in combat and nothing else.
LeftSideCut (3776 KP) rated Doctor Sleep (2019) in Movies
Nov 5, 2019 (Updated Nov 24, 2019)
Contains spoilers, click to show
Doctor Sleep certainly has some big footprints to follow. Nearly 40 years after the release of the hugely beloved The Shining, Director Mike Flanagan has the rather complicated task of adapting Stephen King's follow up sequel novel, whilst also attempting to deliver a solid follow up to Stanley Kubrick's original film. And he pulls it off pretty damn well.
The narrative follows a now adult Danny Torrance (Ewan McGregor), as he struggles with alcoholism. As he begins to put his life back together, he is thrown into a friendship with Abra Stone (Kyliegh Curran), a young girl who has similar powers to Danny, and who is being pursued by a cult who feed on the life force of those who possess 'The Shining'.
This new story is a really tight and fantastic thriller story in its own right. Flanagan takes a leaf from Kubrick's book and provides us with and unsettling atmosphere, complete with a Shining-esque creepy string music score, instead of relying on jump scares and other horror tropes.
It's effective, and engaging. A big part of this is down to the cast. Danny and Abra are both very likable protagonists.
The cult is lead by Rose the Hat, played by Rebecca Ferguson, who is both charming and sinister, and a big highlight of Doctor Sleep. Her and her followers fight for survival shows they will not even stop short of child sacrifice to get what they need, and it makes for a band of genuinely scary villains
The scenery is beautiful throughout, the the effects work on some of the more trippy scenes are decent, and the film toes the line in regards to relying on The Shining nostalgia too much, that is until the final act.
HUGE SPOILERS FOR DOCTOR SLEEP INCOMING
The last 30 minutes are undeniably fun, and a genuinely great climax, to a genuinely great film, but it does just about go overboard with it's 'look at this, remember this?' style of nostalgia. The sad thing is, it probably amounts to about 10 seconds of screentime that slightly sours the experience.
When Danny is at the bar, it's clear that he is talking to Jack before we even see the side of his face. His side profile is fine - absolutely no need to show his full face. Similarly a bit later, a recreated shot of Jack Torrance walking up the stairs towards his wife, didn't need to be there, nor did the shot of Rose the Hat seeing blood pouring from the elevator doors.
The film stops just short of having Ewan McGregor axe his way through a door panel thankfully, and it's only a small criticism of an otherwise nicely executed sequence.
Elsewhere tells a different story - The opening scene of The Shining is recreated, complete with the same iconic score, as overhead shots show us Danny driving up the mountain, towards the Overlook Hotel. It gave me goosebumps and the
scenes near the start of the film which follow directly on from The Shining are great, especially Carl Lumbly, who plays a spot on Mr. Hallorann.
END OF SPOILERS
All in all though, I thoroughly enjoyed Doctor Sleep. The Shining is not an easy shadow to step out from, but Mike Flanagan has created something here which stands on its own two feet.
It's dark, it's fun, it's unnerving, everything you could want from a horror in this day and age, and I genuinely can't wait to watch it again soon.
The narrative follows a now adult Danny Torrance (Ewan McGregor), as he struggles with alcoholism. As he begins to put his life back together, he is thrown into a friendship with Abra Stone (Kyliegh Curran), a young girl who has similar powers to Danny, and who is being pursued by a cult who feed on the life force of those who possess 'The Shining'.
This new story is a really tight and fantastic thriller story in its own right. Flanagan takes a leaf from Kubrick's book and provides us with and unsettling atmosphere, complete with a Shining-esque creepy string music score, instead of relying on jump scares and other horror tropes.
It's effective, and engaging. A big part of this is down to the cast. Danny and Abra are both very likable protagonists.
The cult is lead by Rose the Hat, played by Rebecca Ferguson, who is both charming and sinister, and a big highlight of Doctor Sleep. Her and her followers fight for survival shows they will not even stop short of child sacrifice to get what they need, and it makes for a band of genuinely scary villains
The scenery is beautiful throughout, the the effects work on some of the more trippy scenes are decent, and the film toes the line in regards to relying on The Shining nostalgia too much, that is until the final act.
HUGE SPOILERS FOR DOCTOR SLEEP INCOMING
The last 30 minutes are undeniably fun, and a genuinely great climax, to a genuinely great film, but it does just about go overboard with it's 'look at this, remember this?' style of nostalgia. The sad thing is, it probably amounts to about 10 seconds of screentime that slightly sours the experience.
When Danny is at the bar, it's clear that he is talking to Jack before we even see the side of his face. His side profile is fine - absolutely no need to show his full face. Similarly a bit later, a recreated shot of Jack Torrance walking up the stairs towards his wife, didn't need to be there, nor did the shot of Rose the Hat seeing blood pouring from the elevator doors.
The film stops just short of having Ewan McGregor axe his way through a door panel thankfully, and it's only a small criticism of an otherwise nicely executed sequence.
Elsewhere tells a different story - The opening scene of The Shining is recreated, complete with the same iconic score, as overhead shots show us Danny driving up the mountain, towards the Overlook Hotel. It gave me goosebumps and the
scenes near the start of the film which follow directly on from The Shining are great, especially Carl Lumbly, who plays a spot on Mr. Hallorann.
END OF SPOILERS
All in all though, I thoroughly enjoyed Doctor Sleep. The Shining is not an easy shadow to step out from, but Mike Flanagan has created something here which stands on its own two feet.
It's dark, it's fun, it's unnerving, everything you could want from a horror in this day and age, and I genuinely can't wait to watch it again soon.
Cody Cook (8 KP) rated Writings Of Thomas Paine Volume 4 (1794 1796); The Age Of Reason in Books
Jun 29, 2018
Thomas Paine was a political theorist who was perhaps best known for his support for the American Revolution in his pamphlet Common Sense. In what might be his second best known work, The Age of Reason, Paine argued in favor of deism and against the Christian religion and its conception of God. By deism it is meant the belief in a creator God who does not violate the laws of nature by communicating through revelation or miracles The book was very successful and widely read partly due to the fact that it was written in a style which appealed to a popular audience and often implemented a sarcastic, derisive tone to make its points.
The book seems to have had three major objectives: the support of deism, the ridicule of what Paine found loathsome in Christian theology, and the demonstration of how poor an example the Bible is as a reflection of God.
In a sense, Paine's arguments against Christian theology and scripture were meant to prop up his deistic philosophy. Paine hoped that in demonizing Christianity while giving evidences for God, he would somehow have made the case for deism. But this is not so. If Christianity is false, but God exists nonetheless, we are not left only with deism. There are an infinite number of possibilities for us to examine regarding the nature of God, and far too many left over once we have eliminated the obviously false ones. In favor of deism Paine has only one argument—his dislike of supernatural revelation, which is to say that deism appeals to his culturally derived preferences. In any case, Paine's thinking on the matter seemed to be thus: if supernatural revelation could be shown to be inadequate and the development of complex theology shown to be an error, one could still salvage a belief in God as Creator, but not as an interloper in human affairs who required mediators.
That being said, in his support of deism, Paine makes some arguments to demonstrate the reasonableness in belief in, if not the logical necessity of the existence of, God which could be equally used by Christians.
For instance, just as the apostle Paul argued in his epistle to the Romans that, "what can be known about God is plain to [even pagans], because God has shown it to them. For his invisible attributes, namely, his eternal power and divine nature, have been clearly perceived, ever since the creation of the world, in the things that have been made" (Romans 1:19-20, ESV), so also Paine can say that, "the Creation speaketh an universal language [which points to the existence of God], independently of human speech or human language, multiplied and various as they be."
The key point on which Paine differs from Paul on this issue is in his optimism about man's ability to reason to God without His assisting from the outside. Whereas Paul sees the plainness of God from natural revelation as an argument against the inherent goodness of a species which can read the record of nature and nevertheless rejects its Source's obvious existence, Paine thinks that nature and reason can and do lead us directly to the knowledge of God's existence apart from any gracious overtures or direct revelation.
On the witness of nature, Paine claims, and is quite correct, that, "THE WORD OF GOD IS THE CREATION WE BEHOLD: And it is in this word, which no human invention can counterfeit or alter, that God speaketh universally to man." What is not plainly clear, however, is that man is free enough from the noetic effects of sin to reach such an obvious conclusion on his own. Indeed, the attempts of mankind to create a religion which represents the truth have invariably landed them at paganism. By paganism I mean a system of belief based, as Yehezkel Kaufmann and John N. Oswalt have shown, on continuity.iv In polytheism, even the supernatural is not really supernatural, but is perhaps in some way above humans while not being altogether distinct from us. What happens to the gods is merely what happens to human beings and the natural world writ large, which is why the gods are, like us, victims of fate, and why pagan fertility rituals have attempted to influence nature by influencing the gods which represent it in accordance with the deeper magic of the eternal universe we all inhabit.
When mankind has looked at nature without the benefit of supernatural revelation, he has not been consciously aware of a Being outside of nature which is necessarily responsible for it. His reasoning to metaphysics is based entirely on his own naturalistic categories derived from his own experience. According to Moses, it took God revealing Himself to the Hebrews for anyone to understand what Paine thinks anyone can plainly see.
The goal of deism is to hold onto what the western mind, which values extreme independence of thought, views as attractive in theism while casting aside what it finds distasteful. But as C.S. Lewis remarked, Aslan is not a tame lion. If a sovereign God exists, He cannot be limited by your desires of what you'd like Him to be. For this reason, the deism of men like Paine served as a cultural stepping stone toward the atheism of later intellectuals.
For Paine, as for other deists and atheists like him, it is not that Christianity has been subjected to reason and found wanting, but that it has been subjected to his own private and culturally-determined tastes and preferences and has failed to satisfy. This is the flipside of the anti-religious claim that those who believe in a given religion only do so because of their cultural conditioning: the anti-religionist is also conditioned in a similar way. Of course, how one comes to believe a certain thing has no bearing on whether that thing is true in itself, and this is true whether Christianity, atheism, or any other view is correct. But it must be stated that the deist or atheist is not immune from the epistemic difficulties which he so condescendingly heaps on theists.
One of the befuddling ironies of Paine's work is that around the time he was writing about the revealed religions as, “no other than human inventions set up to terrify and enslave mankind, and monopolize power and profit," the French were turning churches into “temples of reason” and murdering thousands at the guillotine (an instrument of execution now most strongly identified with France's godless reign of terror). Paine, who nearly lost his own life during the French Revolution, saw the danger of this atheism and hoped to stay its progress, despite the risk to his own life in attempting to do so.
What is odd is that Paine managed to blame this violent atheism upon the Christian faith! Obfuscated Paine:
"The Idea, always dangerous to Society as it is derogatory to the Almighty, — that priests could forgive sins, — though it seemed to exist no longer, had blunted the feelings of humanity, and callously prepared men for the commission of all crimes. The intolerant spirit of church persecution had transferred itself into politics; the tribunals, stiled Revolutionary, supplied the place of an Inquisition; and the Guillotine of the Stake. I saw many of my most intimate friends destroyed; others daily carried to prison; and I had reason to believe, and had also intimations given me, that the same danger was approaching myself."
That Robespierre's deism finally managed to supplant the revolutionary state's atheism and that peace, love, and understanding did not then spread throughout the land undermines Paine's claims. Paine felt that the revolution in politics, especially as represented in America, would necessarily lead to a revolution in religion, and that this religious revolution would result in wide acceptance of deism. The common link between these two revolutions was the idea that the individual man was sovereign and could determine for himself what was right and wrong based on his autonomous reason. What Paine was too myopic to see was that in France's violence and atheism was found the logical consequence of his individualistic philosophy. In summary, it is not Christianity which is dangerous, but the spirit of autonomy which leads inevitably into authoritarianism by way of human desire.
As should be clear by now, Paine failed to understand that human beings have a strong tendency to set impartial reason aside and to simply evaluate reality based on their desires and psychological states. This is no more obvious than in his own ideas as expressed in The Age of Reason. Like Paine's tendency to designate every book in the Old Testament which he likes as having been written originally by a gentile and translated into Hebrew, so many of his criticisms of Christian theology are far more a reflection upon himself than of revealed Christianity. One has only to look at Paine's description of Jesus Christ as a “virtuous reformer and revolutionist” to marvel that Paine was so poor at introspection so as to not understand that he was describing himself.
There is much more that could be said about this work, but in the interest of being somewhat concise, I'll end my comments here. If you found this analysis to be useful, be sure to check out my profile and look for my work discussing Paine and other anti-Christian writers coming soon.
The book seems to have had three major objectives: the support of deism, the ridicule of what Paine found loathsome in Christian theology, and the demonstration of how poor an example the Bible is as a reflection of God.
In a sense, Paine's arguments against Christian theology and scripture were meant to prop up his deistic philosophy. Paine hoped that in demonizing Christianity while giving evidences for God, he would somehow have made the case for deism. But this is not so. If Christianity is false, but God exists nonetheless, we are not left only with deism. There are an infinite number of possibilities for us to examine regarding the nature of God, and far too many left over once we have eliminated the obviously false ones. In favor of deism Paine has only one argument—his dislike of supernatural revelation, which is to say that deism appeals to his culturally derived preferences. In any case, Paine's thinking on the matter seemed to be thus: if supernatural revelation could be shown to be inadequate and the development of complex theology shown to be an error, one could still salvage a belief in God as Creator, but not as an interloper in human affairs who required mediators.
That being said, in his support of deism, Paine makes some arguments to demonstrate the reasonableness in belief in, if not the logical necessity of the existence of, God which could be equally used by Christians.
For instance, just as the apostle Paul argued in his epistle to the Romans that, "what can be known about God is plain to [even pagans], because God has shown it to them. For his invisible attributes, namely, his eternal power and divine nature, have been clearly perceived, ever since the creation of the world, in the things that have been made" (Romans 1:19-20, ESV), so also Paine can say that, "the Creation speaketh an universal language [which points to the existence of God], independently of human speech or human language, multiplied and various as they be."
The key point on which Paine differs from Paul on this issue is in his optimism about man's ability to reason to God without His assisting from the outside. Whereas Paul sees the plainness of God from natural revelation as an argument against the inherent goodness of a species which can read the record of nature and nevertheless rejects its Source's obvious existence, Paine thinks that nature and reason can and do lead us directly to the knowledge of God's existence apart from any gracious overtures or direct revelation.
On the witness of nature, Paine claims, and is quite correct, that, "THE WORD OF GOD IS THE CREATION WE BEHOLD: And it is in this word, which no human invention can counterfeit or alter, that God speaketh universally to man." What is not plainly clear, however, is that man is free enough from the noetic effects of sin to reach such an obvious conclusion on his own. Indeed, the attempts of mankind to create a religion which represents the truth have invariably landed them at paganism. By paganism I mean a system of belief based, as Yehezkel Kaufmann and John N. Oswalt have shown, on continuity.iv In polytheism, even the supernatural is not really supernatural, but is perhaps in some way above humans while not being altogether distinct from us. What happens to the gods is merely what happens to human beings and the natural world writ large, which is why the gods are, like us, victims of fate, and why pagan fertility rituals have attempted to influence nature by influencing the gods which represent it in accordance with the deeper magic of the eternal universe we all inhabit.
When mankind has looked at nature without the benefit of supernatural revelation, he has not been consciously aware of a Being outside of nature which is necessarily responsible for it. His reasoning to metaphysics is based entirely on his own naturalistic categories derived from his own experience. According to Moses, it took God revealing Himself to the Hebrews for anyone to understand what Paine thinks anyone can plainly see.
The goal of deism is to hold onto what the western mind, which values extreme independence of thought, views as attractive in theism while casting aside what it finds distasteful. But as C.S. Lewis remarked, Aslan is not a tame lion. If a sovereign God exists, He cannot be limited by your desires of what you'd like Him to be. For this reason, the deism of men like Paine served as a cultural stepping stone toward the atheism of later intellectuals.
For Paine, as for other deists and atheists like him, it is not that Christianity has been subjected to reason and found wanting, but that it has been subjected to his own private and culturally-determined tastes and preferences and has failed to satisfy. This is the flipside of the anti-religious claim that those who believe in a given religion only do so because of their cultural conditioning: the anti-religionist is also conditioned in a similar way. Of course, how one comes to believe a certain thing has no bearing on whether that thing is true in itself, and this is true whether Christianity, atheism, or any other view is correct. But it must be stated that the deist or atheist is not immune from the epistemic difficulties which he so condescendingly heaps on theists.
One of the befuddling ironies of Paine's work is that around the time he was writing about the revealed religions as, “no other than human inventions set up to terrify and enslave mankind, and monopolize power and profit," the French were turning churches into “temples of reason” and murdering thousands at the guillotine (an instrument of execution now most strongly identified with France's godless reign of terror). Paine, who nearly lost his own life during the French Revolution, saw the danger of this atheism and hoped to stay its progress, despite the risk to his own life in attempting to do so.
What is odd is that Paine managed to blame this violent atheism upon the Christian faith! Obfuscated Paine:
"The Idea, always dangerous to Society as it is derogatory to the Almighty, — that priests could forgive sins, — though it seemed to exist no longer, had blunted the feelings of humanity, and callously prepared men for the commission of all crimes. The intolerant spirit of church persecution had transferred itself into politics; the tribunals, stiled Revolutionary, supplied the place of an Inquisition; and the Guillotine of the Stake. I saw many of my most intimate friends destroyed; others daily carried to prison; and I had reason to believe, and had also intimations given me, that the same danger was approaching myself."
That Robespierre's deism finally managed to supplant the revolutionary state's atheism and that peace, love, and understanding did not then spread throughout the land undermines Paine's claims. Paine felt that the revolution in politics, especially as represented in America, would necessarily lead to a revolution in religion, and that this religious revolution would result in wide acceptance of deism. The common link between these two revolutions was the idea that the individual man was sovereign and could determine for himself what was right and wrong based on his autonomous reason. What Paine was too myopic to see was that in France's violence and atheism was found the logical consequence of his individualistic philosophy. In summary, it is not Christianity which is dangerous, but the spirit of autonomy which leads inevitably into authoritarianism by way of human desire.
As should be clear by now, Paine failed to understand that human beings have a strong tendency to set impartial reason aside and to simply evaluate reality based on their desires and psychological states. This is no more obvious than in his own ideas as expressed in The Age of Reason. Like Paine's tendency to designate every book in the Old Testament which he likes as having been written originally by a gentile and translated into Hebrew, so many of his criticisms of Christian theology are far more a reflection upon himself than of revealed Christianity. One has only to look at Paine's description of Jesus Christ as a “virtuous reformer and revolutionist” to marvel that Paine was so poor at introspection so as to not understand that he was describing himself.
There is much more that could be said about this work, but in the interest of being somewhat concise, I'll end my comments here. If you found this analysis to be useful, be sure to check out my profile and look for my work discussing Paine and other anti-Christian writers coming soon.
Sophia (Bookwyrming Thoughts) (530 KP) rated White Stag (Permafrost, #1) in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
Wowowow the synopsis on top of the pretty cover for <em>White Stag</em> called for my name and beckoned me to come and dig myself into a hole for winter break big time.
<h2><strong><em>White</em> <em>Stag</em> has an amazing first chapter.</strong></h2>
Barbieri grabbed my attention with her debut from the very beginning, introducing us to a world where humans and goblins know of each others' existence. The first chapter is action-packed and fast-paced, quickly grabbing my attention and making me want <em>more</em> from the novel.
<h2><strong>"More monster than human."</strong></h2>
Janneke is a human girl who has spent over a century with goblins after her family and village is slaughtered, working as a thrall for one of the goblins. Through observation and her father's teachings, she's one of the few people who survived longer than most. With those years of survival and living, though, she's also slowly lost touch with the human world. Despite wanting to return to the human world and start her life over, she knows it is no longer the same, and it is a struggle for her throughout the book.
<h2><strong>Something about the relationship bothers me a little.</strong></h2>
I can't place my finger on what it is, exactly, but something about Janneke's relationship with Sorren bothers me a little. I guess I didn't care about their relationship? Maybe being in a relationship with someone who technically owns me isn't my thing at all even though Sorren treats her better than any of the other goblins? I honestly don't know.
<h2><strong>So much about rape and flashbacks.</strong></h2>
I'm pretty sure there are at least twenty different ways Barbieri tells us Janneke was brutally raped before she gets placed under Sorren's care. It's implied, it's told, it's shoved in my face and it's used as one of her struggles to accept her transition into becoming a goblin, etc.
And honestly? Without her rape being involved, Janneke is essentially a very special human bean who assimilated into goblin culture with her fierceness and no bullshittery. There's nothing else about her as a character, but maybe we'll see more in the second book?
<h2><strong>Slow, but interesting.</strong></h2>
I think I got caught at a good time while reading this. <em>White Stag</em> is slow, but it was interesting. And if I started reading this a few days later, I would likely say differently because I'm a big mood reader. No book likes to be caught in one of my bad reading days when I go all stabby (aka extremely critical) with books.
<a href="https://bookwyrmingthoughts.com/white-stag-by-kara-barbieri/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Wowowow the synopsis on top of the pretty cover for <em>White Stag</em> called for my name and beckoned me to come and dig myself into a hole for winter break big time.
<h2><strong><em>White</em> <em>Stag</em> has an amazing first chapter.</strong></h2>
Barbieri grabbed my attention with her debut from the very beginning, introducing us to a world where humans and goblins know of each others' existence. The first chapter is action-packed and fast-paced, quickly grabbing my attention and making me want <em>more</em> from the novel.
<h2><strong>"More monster than human."</strong></h2>
Janneke is a human girl who has spent over a century with goblins after her family and village is slaughtered, working as a thrall for one of the goblins. Through observation and her father's teachings, she's one of the few people who survived longer than most. With those years of survival and living, though, she's also slowly lost touch with the human world. Despite wanting to return to the human world and start her life over, she knows it is no longer the same, and it is a struggle for her throughout the book.
<h2><strong>Something about the relationship bothers me a little.</strong></h2>
I can't place my finger on what it is, exactly, but something about Janneke's relationship with Sorren bothers me a little. I guess I didn't care about their relationship? Maybe being in a relationship with someone who technically owns me isn't my thing at all even though Sorren treats her better than any of the other goblins? I honestly don't know.
<h2><strong>So much about rape and flashbacks.</strong></h2>
I'm pretty sure there are at least twenty different ways Barbieri tells us Janneke was brutally raped before she gets placed under Sorren's care. It's implied, it's told, it's shoved in my face and it's used as one of her struggles to accept her transition into becoming a goblin, etc.
And honestly? Without her rape being involved, Janneke is essentially a very special human bean who assimilated into goblin culture with her fierceness and no bullshittery. There's nothing else about her as a character, but maybe we'll see more in the second book?
<h2><strong>Slow, but interesting.</strong></h2>
I think I got caught at a good time while reading this. <em>White Stag</em> is slow, but it was interesting. And if I started reading this a few days later, I would likely say differently because I'm a big mood reader. No book likes to be caught in one of my bad reading days when I go all stabby (aka extremely critical) with books.
<a href="https://bookwyrmingthoughts.com/white-stag-by-kara-barbieri/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Sophia (Bookwyrming Thoughts) (530 KP) rated All Is Fair in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
<h2><em><strong>All is Fair</strong></em><strong> by Dee Garretson promises an adventure.</strong></h2>
The beginning of <em>All is Fair</em> promises a fun, action-packed adventure, set in World War I with badass females being involved in espionage. After Mina receives a telegram from her father at her boarding school and decrypts the message, she heads home to find her friend Andrew with an American named Lucas.
<h2><strong>It's a little predictable, but also fun.</strong></h2>
<em>All is Fair</em> starts off great and I loved seeing Mina decrypting her father's message at school. I also loved seeing this play a role later on when Mina has to join Lucas on his mission so he could succeed.
But Garretson's novel is relatively predictable as I called some of the twists before they happened. While this may suck out of the fun for some people, I found myself letting the easy predictions slide as I enjoyed other aspects of the story.
<h2><strong>Slow at the beginning.</strong></h2>
After the promising intro and beginning when we are introduced to Mina and learn a little about her, the story dies down. <em>All is Fair</em> becomes slow and we focus a lot on the aristocratic life in the early 20th century before we get to the action-packed part of the story. I found myself stepping away frequently until then because I was just <em>bored</em> despite the character interactions.
<h2><strong>Characters and interactions are great, romance unnecessary</strong></h2>
I'm a huge character person - if there's a character or two that I enjoy reading, I'll likely let other problems (if any) I have slide. And I adored Mina. From the beginning, she's wanted to go on an adventure but rarely gets the opportunity until something happens and she takes the chance. Her interactions with Lucas are amusing and there is <em>quite</em> the shade being thrown between the two (I love me some good shade).
But the romance wasn't necessary to the story. It felt suddenly thrown in near the end just to have a romantic aspect of sorts. <em>All is Fair</em> would have been perfectly fine with the friendship and occasional shade being thrown about.
<h2><strong>We have an open ending.</strong></h2>
<em>All is Fair</em> leaves an open ending that promises of a possible sequel that could potentially happen. Even if there is no sequel, though, the story wrapped up nicely. My only issue aside from the unnecessary romantic aspect is the boring beginning readers will have to drag themselves through to get to the action-packed adventure.
<a href="http://bookwyrmingthoughts.com/all-is-fair-by-dee-garretson/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<h2><em><strong>All is Fair</strong></em><strong> by Dee Garretson promises an adventure.</strong></h2>
The beginning of <em>All is Fair</em> promises a fun, action-packed adventure, set in World War I with badass females being involved in espionage. After Mina receives a telegram from her father at her boarding school and decrypts the message, she heads home to find her friend Andrew with an American named Lucas.
<h2><strong>It's a little predictable, but also fun.</strong></h2>
<em>All is Fair</em> starts off great and I loved seeing Mina decrypting her father's message at school. I also loved seeing this play a role later on when Mina has to join Lucas on his mission so he could succeed.
But Garretson's novel is relatively predictable as I called some of the twists before they happened. While this may suck out of the fun for some people, I found myself letting the easy predictions slide as I enjoyed other aspects of the story.
<h2><strong>Slow at the beginning.</strong></h2>
After the promising intro and beginning when we are introduced to Mina and learn a little about her, the story dies down. <em>All is Fair</em> becomes slow and we focus a lot on the aristocratic life in the early 20th century before we get to the action-packed part of the story. I found myself stepping away frequently until then because I was just <em>bored</em> despite the character interactions.
<h2><strong>Characters and interactions are great, romance unnecessary</strong></h2>
I'm a huge character person - if there's a character or two that I enjoy reading, I'll likely let other problems (if any) I have slide. And I adored Mina. From the beginning, she's wanted to go on an adventure but rarely gets the opportunity until something happens and she takes the chance. Her interactions with Lucas are amusing and there is <em>quite</em> the shade being thrown between the two (I love me some good shade).
But the romance wasn't necessary to the story. It felt suddenly thrown in near the end just to have a romantic aspect of sorts. <em>All is Fair</em> would have been perfectly fine with the friendship and occasional shade being thrown about.
<h2><strong>We have an open ending.</strong></h2>
<em>All is Fair</em> leaves an open ending that promises of a possible sequel that could potentially happen. Even if there is no sequel, though, the story wrapped up nicely. My only issue aside from the unnecessary romantic aspect is the boring beginning readers will have to drag themselves through to get to the action-packed adventure.
<a href="http://bookwyrmingthoughts.com/all-is-fair-by-dee-garretson/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>