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A Bibliophagist (113 KP) rated The Toll (Arc of a Scythe, #3) in Books
Feb 5, 2020
Characters (3 more)
Worldbuilding
Plot
Pacing
A fantasic finale
After the amazing cliffhanger of Thunderhead, I rushed to pick up this because I just HAD TO KNOW. This cover is even prettier, they really nailed this series (sans the transformers font) and I hope it inspires more YA books to hire illustrators and not photo manip garbage. I'm an Illustrator though, so I'm biased. This review will have spoilers for Thunderhead, so don't read if you haven't read that!
The Toll picks up immediately after Thunderhead. Goddard has returned the MidMerica, no one knows that he was demoted to apprentice and with the death of Scythe Curie he stands uncontested for replacing Xenocrates. Anastasia and Rowan rest at the bottom of the ocean, and Goddard has made the site a site of remembrance to avoid any evidence being drudged up. The sinking of Endura is also squarely blamed on Rowan, and the world suffers as the Thunderhead punishes everyone, marking them unsavory. Cutting off communication with all but one, our former unsavory, Greyson.
With the rise of Goddard, the Schism amongst the Scythedom widens. He seizes more power, overturns rules and makes new ones and slowly starts taking control of other nations. Dubbing himself the Overblade. The story arches over 3 years post Thunderhead, and we jump around a little bit. During the three years Goddard continues to take a chokehold on the world, Greyson suddenly finds himself a living god amongst the tonists and humanity, as the only one able to speak to the thunderhead, he takes on the role of the Tonist's mythological figure, The Toll. Acting as a go-between, and manipulating those around him to fulfill the Thunderhead's goals.
Meanwhile, Faraday continues his search for the land of nod, making serious headway and discovering something that makes the Thunderhead uncertain. So the Thunderhead starts making plans. Faraday finds himself stranded with his helper, far away from the Scythedom, the Thunderhead and the horrible things that have been happening far away. He knows nothing of the fate of Marie, Goddard, Citra, Rowan, or the world. Finally, in the third year since the sinking of Endura, Rowan and Citra are raised from the depths, squirreled away by the Amazonian Scythes before Goddard knows they aren't dead. Being raised from the dead did wonders for Goddard's cause, so can Anastaisa's return do wonders for the plight of the old guard? But first Anastasia must plan and play her cards right, digging deep in the Thunderheads back brain to piece together mysteries long since written off and uncover the secrets of the Scythedom.
This book was really good, and a very satisfying finale to the series. The already rich worldbuilding is made richer by his choice to cut the world off from the Thunderhead, showing us what happens when people lose their connection to the world. He believably shows the influence one charismatic politician can have, and how easy it is for things to fall into disarray. You can tell he had a gameplan when he wrote these books, because everything comes together just right, not loose ends, everything had a purpose. Characters are tested, grow and develop. New parts of the world are further explored, completing the picture he begun in the other two books. I thoroughly enjoyed his take on the age-old sci-fi trope of "How does the benevolent computer protect humans from themselves". Well written, and elevated, especially in terms of other YA fiction. Shusterman really wrote a fantastic series. Once again, the romance is understated, but the emotions run deep enough at this point to pull at your heartstrings and make you believe in their love, even if it came from somewhat unbelievable beginnings.
This series is well worth the read, and a breath of fresh air in an otherwise stale and formulaic YA world.
The Toll picks up immediately after Thunderhead. Goddard has returned the MidMerica, no one knows that he was demoted to apprentice and with the death of Scythe Curie he stands uncontested for replacing Xenocrates. Anastasia and Rowan rest at the bottom of the ocean, and Goddard has made the site a site of remembrance to avoid any evidence being drudged up. The sinking of Endura is also squarely blamed on Rowan, and the world suffers as the Thunderhead punishes everyone, marking them unsavory. Cutting off communication with all but one, our former unsavory, Greyson.
With the rise of Goddard, the Schism amongst the Scythedom widens. He seizes more power, overturns rules and makes new ones and slowly starts taking control of other nations. Dubbing himself the Overblade. The story arches over 3 years post Thunderhead, and we jump around a little bit. During the three years Goddard continues to take a chokehold on the world, Greyson suddenly finds himself a living god amongst the tonists and humanity, as the only one able to speak to the thunderhead, he takes on the role of the Tonist's mythological figure, The Toll. Acting as a go-between, and manipulating those around him to fulfill the Thunderhead's goals.
Meanwhile, Faraday continues his search for the land of nod, making serious headway and discovering something that makes the Thunderhead uncertain. So the Thunderhead starts making plans. Faraday finds himself stranded with his helper, far away from the Scythedom, the Thunderhead and the horrible things that have been happening far away. He knows nothing of the fate of Marie, Goddard, Citra, Rowan, or the world. Finally, in the third year since the sinking of Endura, Rowan and Citra are raised from the depths, squirreled away by the Amazonian Scythes before Goddard knows they aren't dead. Being raised from the dead did wonders for Goddard's cause, so can Anastaisa's return do wonders for the plight of the old guard? But first Anastasia must plan and play her cards right, digging deep in the Thunderheads back brain to piece together mysteries long since written off and uncover the secrets of the Scythedom.
This book was really good, and a very satisfying finale to the series. The already rich worldbuilding is made richer by his choice to cut the world off from the Thunderhead, showing us what happens when people lose their connection to the world. He believably shows the influence one charismatic politician can have, and how easy it is for things to fall into disarray. You can tell he had a gameplan when he wrote these books, because everything comes together just right, not loose ends, everything had a purpose. Characters are tested, grow and develop. New parts of the world are further explored, completing the picture he begun in the other two books. I thoroughly enjoyed his take on the age-old sci-fi trope of "How does the benevolent computer protect humans from themselves". Well written, and elevated, especially in terms of other YA fiction. Shusterman really wrote a fantastic series. Once again, the romance is understated, but the emotions run deep enough at this point to pull at your heartstrings and make you believe in their love, even if it came from somewhat unbelievable beginnings.
This series is well worth the read, and a breath of fresh air in an otherwise stale and formulaic YA world.
Matthew Krueger (10051 KP) rated Ghost Stories in Tabletop Games
Jul 28, 2020 (Updated Jul 30, 2020)
The Gameplay (4 more)
The Strategy
Replay Value
Thinking Ten Steps Ahead
The Concept
Hard (2 more)
Luck of the dice
The cruse dice
Spooky Scary Ghosts
I learned about this game through Dice Tower reviews, Rahdo runthrough and BoardGameGeek. And it looked really good. A cooperative game in which the players protect the village from incarnations of the lord of hell – Wu-Feng – and his legions of ghosts before they haunt a town and recover the ashes that will allow him to return to life. That sounded really intresting and unquite. So i bought it and its a excellent game. Let me talk more about it..
Gameplay:
Each Player represents a Taoist monk working together with the others to fight off waves of ghosts.
The players, using teamwork, will have to exorcise the ghosts that appear during the course of the game. At the beginning of his turn, a player brings a ghost into play and places it on a free spot, and more than one can come in at the same time. The ghosts all have abilities of their own – some affecting the Taoists and their powers, some causing the active player to roll the curse die for a random effect, and others haunting the villager tiles and blocking that tile's special action. On his turn, a Taoist can move on a tile in order to exorcise adjacent ghosts or to benefit from the villager living on the tile, providing it is not haunted. Each tile of the village allows the players to benefit from a different bonus. With the cemetery, for example, Taoists can bring a dead Taoist back to life, while the herbalist allows to recover spent Tao tokens, etc. It will also be possible to get traps or move ghosts or unhaunt other village tiles.
To exorcise a ghost, the Taoist rolls three Tao dice with different colors: red, blue, green, yellow, black, and white. If the result of the roll matches the color(s) of the ghost or incarnation of Wu-Feng, the exorcism succeeds. The white result is a wild color that can be used as any color. For example, to exorcise a green ghost with 3 resistance, you need to roll three green, three white, or a combination of both. If your die rolls fall short, you can also use Tao tokens that match the color in addition to your roll. You may choose to use these after your roll. Taoists gain these tokens by using certain village tiles or by exorcising certain ghosts. One of the Taoists has a power that allows him to receive such a token once per turn.
To win, the players must defeat the incarnation of Wu-Feng, a boss who arrives at the end of the game. There are also harder difficulty levels that add more incarnations of Wu-Feng, in which to win, you must defeat all of them.
There are many more ways to lose, however. The players lose if three of the village's tiles are haunted, if the draw pile is emptied while the incarnation of Wu-Feng is still in play, or if all the priests are dead.
It is hard game but the strategy to this game is excellent cause you have to think about your moves and what to do next. That and the clock is ticking down to one of the ten Wu-Feng Minions. Also if 3 village spaces get crushed than you lose. Also the luck of the dice and the cards. The strategy is ten fold. Its hard but a excellent game and a must play game. Buy it if you havent already cause its a must. If you want to learn more or see a runthrough of the game go to BoardGameGeek, Rahdo Runthroughs or Dice Tower Reviews.
Gameplay:
Each Player represents a Taoist monk working together with the others to fight off waves of ghosts.
The players, using teamwork, will have to exorcise the ghosts that appear during the course of the game. At the beginning of his turn, a player brings a ghost into play and places it on a free spot, and more than one can come in at the same time. The ghosts all have abilities of their own – some affecting the Taoists and their powers, some causing the active player to roll the curse die for a random effect, and others haunting the villager tiles and blocking that tile's special action. On his turn, a Taoist can move on a tile in order to exorcise adjacent ghosts or to benefit from the villager living on the tile, providing it is not haunted. Each tile of the village allows the players to benefit from a different bonus. With the cemetery, for example, Taoists can bring a dead Taoist back to life, while the herbalist allows to recover spent Tao tokens, etc. It will also be possible to get traps or move ghosts or unhaunt other village tiles.
To exorcise a ghost, the Taoist rolls three Tao dice with different colors: red, blue, green, yellow, black, and white. If the result of the roll matches the color(s) of the ghost or incarnation of Wu-Feng, the exorcism succeeds. The white result is a wild color that can be used as any color. For example, to exorcise a green ghost with 3 resistance, you need to roll three green, three white, or a combination of both. If your die rolls fall short, you can also use Tao tokens that match the color in addition to your roll. You may choose to use these after your roll. Taoists gain these tokens by using certain village tiles or by exorcising certain ghosts. One of the Taoists has a power that allows him to receive such a token once per turn.
To win, the players must defeat the incarnation of Wu-Feng, a boss who arrives at the end of the game. There are also harder difficulty levels that add more incarnations of Wu-Feng, in which to win, you must defeat all of them.
There are many more ways to lose, however. The players lose if three of the village's tiles are haunted, if the draw pile is emptied while the incarnation of Wu-Feng is still in play, or if all the priests are dead.
It is hard game but the strategy to this game is excellent cause you have to think about your moves and what to do next. That and the clock is ticking down to one of the ten Wu-Feng Minions. Also if 3 village spaces get crushed than you lose. Also the luck of the dice and the cards. The strategy is ten fold. Its hard but a excellent game and a must play game. Buy it if you havent already cause its a must. If you want to learn more or see a runthrough of the game go to BoardGameGeek, Rahdo Runthroughs or Dice Tower Reviews.
Whatchareadin (174 KP) rated If I Stay (If I Stay, #1) in Books
May 10, 2018
Mia is a typical 17 year old girl. She has a great family, plays the cello, has good friends and an incredible boyfriend. On a very non-typical day in her home of Oregon, a dusting of snow keeps the whole family home from work and school. Her family decides to take a drive and visit some family and friends. Unfortunately, on this journey, tragedy strikes. Mia's family is involved in a car accident. As Mia's life hangs in the balance, she reflects on all that has happened in her short time on earth and what would or could happen if she decided to stay.
I thought this was going to be a tear-jerker, but it wasn't so much. The events that took place are sad for sure, but I didn't find myself crying like I thought I would. Imagine if everyone in your immediate family is killed in a car accident and you are the only survivor. What do you do? You watch your whole family laying in pools of blood and then you watch yourself being operated on and see the looks in the eyes of your friends and family as they try to make sense of it all as well. In the book, the movie Ghost is referenced, and this book does remind me a bit of that movie. Patrick Swayze is dead though, and Mia is just trying to figure out if she should stay with the living, or go and be with her parents and her brother. It's a hard decision to make and I'm not sure if it is one that I could make. For me or for any other member of my family. How can you make the decision to let someone live or die? How do you make that decision yourself? Are we really able to make that decision?
My favorite part of this book, is looking back into Mia's life. Getting an understanding of who she is and who her family was. I love the fact that her family was so close and most of her life treated her like a little adult instead of a child. They were encouraging and always there for her. Her boyfriend and her best friend were the same way. They may not have always agreed on everything, but they were always understanding and willing to give a listening ear. I'm not sure if the series follows Mia along the rest of her journey, but I would like to know what her decision was.
I thought this was going to be a tear-jerker, but it wasn't so much. The events that took place are sad for sure, but I didn't find myself crying like I thought I would. Imagine if everyone in your immediate family is killed in a car accident and you are the only survivor. What do you do? You watch your whole family laying in pools of blood and then you watch yourself being operated on and see the looks in the eyes of your friends and family as they try to make sense of it all as well. In the book, the movie Ghost is referenced, and this book does remind me a bit of that movie. Patrick Swayze is dead though, and Mia is just trying to figure out if she should stay with the living, or go and be with her parents and her brother. It's a hard decision to make and I'm not sure if it is one that I could make. For me or for any other member of my family. How can you make the decision to let someone live or die? How do you make that decision yourself? Are we really able to make that decision?
My favorite part of this book, is looking back into Mia's life. Getting an understanding of who she is and who her family was. I love the fact that her family was so close and most of her life treated her like a little adult instead of a child. They were encouraging and always there for her. Her boyfriend and her best friend were the same way. They may not have always agreed on everything, but they were always understanding and willing to give a listening ear. I'm not sure if the series follows Mia along the rest of her journey, but I would like to know what her decision was.
Hazel (1853 KP) rated Nirvana (Nirvana #1) in Books
Dec 7, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review </i>
Imagine a world without any bees. That is the world that J. R. Stewart conjures up in this new dystopian series, <i>Nirvana</i>. Twenty years from now, the bees have become extinct. There are no more trees, flowers, fruits or vegetables; and more animals have become extinct as a result. Young adult, Larissa, is living in a world that seems unimaginable, but not only is she dealing with this new way of life, she is also grieving the loss of her husband, Andrew.
Andrew was a scientist, an occupation that earned himself and Larissa a place in the Barracks where he could continue with his important research. They both believed they were lucky to receive this opportunity, but then Andrew went out on a mission and never came back. No matter how hard people try to convince her, Larissa cannot accept that her husband is dead, especially as she has seen him in <i>Nirvana</i> – a virtual reality world. As she struggles to piece together what is real and what is not, secrets are being uncovered that blur the lines between reality and the cybernetic domain.
<i>Nirvana </i>is an interesting concept. Firstly, the issue with the extinction of the bees is a very real concern for scientists at the moment. If bees were to die out there would be no pollination of the vital plants that humans use daily. Humanity would be faced with a future not unlike Larissa’s. Secondly, with the advance in computer technology, virtual reality has become a popular phenomenon in contemporary society, and with more expansion it is likely that something similar to Nirvana will be produced.
As a story, however, nothing exciting really happened. There was no major build up to the ending. Characters were suspected of hiding the truth from the very beginning and therefore it was no surprise when certain facts came to light later in the novel. <i>Nirvana</i> is also a very short first installment of the series, which does not give the story much chance to develop at an adequate pace, thus it is difficult to get our heads around the virtual reality concept that Stewart writes about.
Despite these misgivings there is the chance that the following novels in this series will become more thrilling as the truth begins to unravel about Andrew’s disappearance or death.
Imagine a world without any bees. That is the world that J. R. Stewart conjures up in this new dystopian series, <i>Nirvana</i>. Twenty years from now, the bees have become extinct. There are no more trees, flowers, fruits or vegetables; and more animals have become extinct as a result. Young adult, Larissa, is living in a world that seems unimaginable, but not only is she dealing with this new way of life, she is also grieving the loss of her husband, Andrew.
Andrew was a scientist, an occupation that earned himself and Larissa a place in the Barracks where he could continue with his important research. They both believed they were lucky to receive this opportunity, but then Andrew went out on a mission and never came back. No matter how hard people try to convince her, Larissa cannot accept that her husband is dead, especially as she has seen him in <i>Nirvana</i> – a virtual reality world. As she struggles to piece together what is real and what is not, secrets are being uncovered that blur the lines between reality and the cybernetic domain.
<i>Nirvana </i>is an interesting concept. Firstly, the issue with the extinction of the bees is a very real concern for scientists at the moment. If bees were to die out there would be no pollination of the vital plants that humans use daily. Humanity would be faced with a future not unlike Larissa’s. Secondly, with the advance in computer technology, virtual reality has become a popular phenomenon in contemporary society, and with more expansion it is likely that something similar to Nirvana will be produced.
As a story, however, nothing exciting really happened. There was no major build up to the ending. Characters were suspected of hiding the truth from the very beginning and therefore it was no surprise when certain facts came to light later in the novel. <i>Nirvana</i> is also a very short first installment of the series, which does not give the story much chance to develop at an adequate pace, thus it is difficult to get our heads around the virtual reality concept that Stewart writes about.
Despite these misgivings there is the chance that the following novels in this series will become more thrilling as the truth begins to unravel about Andrew’s disappearance or death.
LeftSideCut (3778 KP) rated The Invisible Man (2020) in Movies
Mar 11, 2020
I've always found the premise of The Invisible Man damn scary. Someone watching you, stood next to you, whilst you carry on obliviously. It's the kind of scariness that gets under the skin, honestly, just like this movie does. For the first time in a while, I felt truly uncomfortable and genuinely scared throughout a fair chunk of the run time.
The movie starts with leading lady Cecilia (Elisabeth Moss) quietly and frantically leaving her house in the dead of night, to get away from her abusive relationship with partner Adrian (Oliver Jackson-Cohen).
This opening scene sets the tone nicely. It's dimly lit, it's mostly silent, it's tense, and climaxes frantically with a swelling of orchestral score (the original score by Benjamin Wallfisch is fantastic throughout).
Finally free and living with friends, Cecilia is somewhat comforted by the news that Adrian has subsequently committed suicide, and is no longer a threat to her.
Before long though, she is being stalked by an unseen presence, and she quickly becomes convinced that Adrian as alive and well, and has perfected his work in the optics field to turn himself invisible, and systematically ruin her life.
Once it becomes apparent that Cecilia is not alone is where the movie really shines. We're subjected to wide shot after wide shot of her going about her daily routines, with plenty of empty camera space, where we as the audience are prompted to search the shot for clues, to see if we can see where The Invisible Man is in the moment. It's a simple and hugely effective tactic that had me squirming. The constant under current of dread is really quite horrible.
Elisabeth Moss is great from start to finish. The torment that she is out through is portrayed really well, and it doesn't take a lot to sympathise with her, and the yearning for everyone else to see she isn't crazy is strong.
Towards the final act, the tension predictably takes a bit of a backseat for a more fast faced finale, which mostly works, but it's hard to ignore a few glaring plot holes, and a late twist that feels like it was thrown in just for the sake of it. It's not enough to ruin what is undoubtedly a pretty solid edge-of-your-seat thriller though.
If Universal had perhaps approached The Mummy with a similar style, then we could be in the midst of a great Dark Universe franchise, but if all the seperate entries end up being as strong as The Invisible Man, then it's no loss.
The movie starts with leading lady Cecilia (Elisabeth Moss) quietly and frantically leaving her house in the dead of night, to get away from her abusive relationship with partner Adrian (Oliver Jackson-Cohen).
This opening scene sets the tone nicely. It's dimly lit, it's mostly silent, it's tense, and climaxes frantically with a swelling of orchestral score (the original score by Benjamin Wallfisch is fantastic throughout).
Finally free and living with friends, Cecilia is somewhat comforted by the news that Adrian has subsequently committed suicide, and is no longer a threat to her.
Before long though, she is being stalked by an unseen presence, and she quickly becomes convinced that Adrian as alive and well, and has perfected his work in the optics field to turn himself invisible, and systematically ruin her life.
Once it becomes apparent that Cecilia is not alone is where the movie really shines. We're subjected to wide shot after wide shot of her going about her daily routines, with plenty of empty camera space, where we as the audience are prompted to search the shot for clues, to see if we can see where The Invisible Man is in the moment. It's a simple and hugely effective tactic that had me squirming. The constant under current of dread is really quite horrible.
Elisabeth Moss is great from start to finish. The torment that she is out through is portrayed really well, and it doesn't take a lot to sympathise with her, and the yearning for everyone else to see she isn't crazy is strong.
Towards the final act, the tension predictably takes a bit of a backseat for a more fast faced finale, which mostly works, but it's hard to ignore a few glaring plot holes, and a late twist that feels like it was thrown in just for the sake of it. It's not enough to ruin what is undoubtedly a pretty solid edge-of-your-seat thriller though.
If Universal had perhaps approached The Mummy with a similar style, then we could be in the midst of a great Dark Universe franchise, but if all the seperate entries end up being as strong as The Invisible Man, then it's no loss.
Kara Skinner (332 KP) rated The Band 4: The Air We Breathe in Books
Sep 10, 2019
Genre: Contemporary, Inspirational
Page Count: 324 pages (of nauseation)
Average Goodreads Rating: 3/5 stars (why, Goodreads? You’re usually so tough on books)
My Rating: 1.5/ 5 stars
Truthfully, this is actually a great story. Yeah. So great. It’s the perfect backstory for its horror sequel: The Martins Trump Manson on Body Count.
As a romance it fucking sucks.
I don’t even know where to begin. This book is so full of sugary sap that it makes pasta covered in maple and chocolate syrup and marshmallows look appetizing.
original
Still not as sweet as The Air We Breathe
Here’s the thing: I’m not actually a bitter and cynical person. I like sap and fluff. I smile and giggle during romance scenes, I’ve obsessively written cute and romantic fanfiction and my boyfriend and I were arguably the most nauseatingly cute couple to ever walk the halls of John Bapst Memorial High School.
But I gagged reading this book for the amount of love-doveyness.
Marguerite is on holiday in London, recovering from the sudden deaths of her parents which liberated her from 27 years of being suffocated and controlled by them. While there, she has a random chance encounter with Chase Martin, a depressed rock star exhausted from touring with his band. Chase and Marguerite are drawn together by a strange unknown force. They don’t know why they have such a strong connection to each other, but they do know that life without the other would not be living at all.
I actually really liked the beginning and thought that it would shape up to be an interesting and sweet romance. We see them before they meet in the coffee shop, miserable and depressed, and then while sipping her drink and reading her book, Marguerite feels Chase’s anxiety. So she buys him a decaf drink and gives it to him, saying she could feel his anxiety from across the shop. That’s great.
The two of them realize they’re drawn together and can find each other happiness and Marguerite ends up spending the night at Chase’s house just so they can find comfort in having another human being near them. That’s great, too.
The beginning is by far my favorite part because it has promise for a good story and has more vivid scenes than any other part of the book.
But then it moves too quickly from there.
From that moment on, the two of them are so deep in love they make Romeo and Juliet look reserved and cautious. They are constantly “blown away” by each other and moved to tears every minute by each other. They “get a kick out of” every little joke they make to each other, and they start living together immediately after they meet. After a week (that’s right, a flipping week), Chase proposes to her.
And if I had a pin for every time one of those quoted phrases appeared in this novel, I could pulverize a voodoo doll. The repeated phrases and excessive emotion of the characters is definitely the worst part.
I’m still not that aggravated with this book, yet. Yeah, the insta love irks me, but I figure there will be a great plot with lots of trouble between the two of them after they marry. After all, they barely know each other and they need to figure out what this psychic connection means. Maybe they’re the incarnated souls of Hawkgirl and Hawkman and they’re about to get killed by an immortal psychopath (did I mention I’m a huge nerd?).
Nope. The two of them agree on everything, right down to how to decorate the house and the new rule that shoes are off upon entering. And things continue to be hunky dory for practically forever. All of Chase’s friends, and their girlfriends, love Marguerite and nobody questions their whirlwind romance. Yeah, because a severely depressed person getting engaged after a week of dating isn’t a cry for help or anything.
And there is so much to dislike about Chase’s and Marguerite’s decisions. Marguerite is forced to quit her job so she can move to London to be with Chase.
Never mind that she liked her job in Pennsylvania and didn’t express any wish to be a housewife. Never mind that Chase was getting tired of touring and thinking about quitting the band anyway. It’s her life that gets turned upside down.
Also, so much for her newfound freedom following her parents’ deaths! Now she’s shadowed by a bodyguard wherever she goes, needs to sneak into the backs of restaurant when she wants to eat out, and can’t even walk to the store for fear of being accosted by her husbands’ fans.
Yes, Chase’s life gets changed too. He now has a wife that cooks meals for him, cleans for him, furnishes and decorates his house for him, and hands him a cold towel when he walks off stage. He made some real damn sacrifices when he married Marguerite.
bitch_please_by_teslapunk-d32znko
But life goes on. With a lot of summary and over thirty years, it goes on.
Aside from dialogues and scenes peppered here and there, the book is mostly sweet and sappy summary of their lives. Dark things happen now and then but they’re glossed over and smothered in fluff.
If this storyline was done by a competent writer, this actually could have been an entertaining series about the Martin family. There is actually plenty of material between the psychic connection, Marguerite’s tragic background, a miscarriage, a huge celebrity drugging conspiracy, two sets of twins, a near death experience, and a baby on the doorstep.
But somehow it becomes boring and plotless when it’s all crammed into one book that seems to drag on forever. During all of this my main concern, the psychic connection, was never explained. It’s just a gift from God. One that turns their “perfect” (as in creepily well behaved and mature) children into kids from The Shining. Because they also have a psychic connection. They can “feel” each other and their parents. Oh, and talk to their dead sister, apparently, when their dead sister wants to tell them about babies being left on their doorstep.
“This is Baby Sarah,” Matt said.
“Baby Sarah?” Marguerite asked.
(Both sets of twins) said “Yes. We knew she was coming.”
Chase asked, “How did you know?”
“Baby Margaret told us,” Mark said.
Also, when Chase and Marguerite choose Sarah’s full name, all four children, in a different room, wake up from a dead sleep, sit up in unison, and announce that the baby is named.
May I present the newest additions to the Martin family?
If you want to read a rockstar romance, I recommend Love’s Rhythm by Lexxie Couper, which isn’t perfectly crafted, but leagues beyond The Band 4: The Air We Breathe.
Page Count: 324 pages (of nauseation)
Average Goodreads Rating: 3/5 stars (why, Goodreads? You’re usually so tough on books)
My Rating: 1.5/ 5 stars
Truthfully, this is actually a great story. Yeah. So great. It’s the perfect backstory for its horror sequel: The Martins Trump Manson on Body Count.
As a romance it fucking sucks.
I don’t even know where to begin. This book is so full of sugary sap that it makes pasta covered in maple and chocolate syrup and marshmallows look appetizing.
original
Still not as sweet as The Air We Breathe
Here’s the thing: I’m not actually a bitter and cynical person. I like sap and fluff. I smile and giggle during romance scenes, I’ve obsessively written cute and romantic fanfiction and my boyfriend and I were arguably the most nauseatingly cute couple to ever walk the halls of John Bapst Memorial High School.
But I gagged reading this book for the amount of love-doveyness.
Marguerite is on holiday in London, recovering from the sudden deaths of her parents which liberated her from 27 years of being suffocated and controlled by them. While there, she has a random chance encounter with Chase Martin, a depressed rock star exhausted from touring with his band. Chase and Marguerite are drawn together by a strange unknown force. They don’t know why they have such a strong connection to each other, but they do know that life without the other would not be living at all.
I actually really liked the beginning and thought that it would shape up to be an interesting and sweet romance. We see them before they meet in the coffee shop, miserable and depressed, and then while sipping her drink and reading her book, Marguerite feels Chase’s anxiety. So she buys him a decaf drink and gives it to him, saying she could feel his anxiety from across the shop. That’s great.
The two of them realize they’re drawn together and can find each other happiness and Marguerite ends up spending the night at Chase’s house just so they can find comfort in having another human being near them. That’s great, too.
The beginning is by far my favorite part because it has promise for a good story and has more vivid scenes than any other part of the book.
But then it moves too quickly from there.
From that moment on, the two of them are so deep in love they make Romeo and Juliet look reserved and cautious. They are constantly “blown away” by each other and moved to tears every minute by each other. They “get a kick out of” every little joke they make to each other, and they start living together immediately after they meet. After a week (that’s right, a flipping week), Chase proposes to her.
And if I had a pin for every time one of those quoted phrases appeared in this novel, I could pulverize a voodoo doll. The repeated phrases and excessive emotion of the characters is definitely the worst part.
I’m still not that aggravated with this book, yet. Yeah, the insta love irks me, but I figure there will be a great plot with lots of trouble between the two of them after they marry. After all, they barely know each other and they need to figure out what this psychic connection means. Maybe they’re the incarnated souls of Hawkgirl and Hawkman and they’re about to get killed by an immortal psychopath (did I mention I’m a huge nerd?).
Nope. The two of them agree on everything, right down to how to decorate the house and the new rule that shoes are off upon entering. And things continue to be hunky dory for practically forever. All of Chase’s friends, and their girlfriends, love Marguerite and nobody questions their whirlwind romance. Yeah, because a severely depressed person getting engaged after a week of dating isn’t a cry for help or anything.
And there is so much to dislike about Chase’s and Marguerite’s decisions. Marguerite is forced to quit her job so she can move to London to be with Chase.
Never mind that she liked her job in Pennsylvania and didn’t express any wish to be a housewife. Never mind that Chase was getting tired of touring and thinking about quitting the band anyway. It’s her life that gets turned upside down.
Also, so much for her newfound freedom following her parents’ deaths! Now she’s shadowed by a bodyguard wherever she goes, needs to sneak into the backs of restaurant when she wants to eat out, and can’t even walk to the store for fear of being accosted by her husbands’ fans.
Yes, Chase’s life gets changed too. He now has a wife that cooks meals for him, cleans for him, furnishes and decorates his house for him, and hands him a cold towel when he walks off stage. He made some real damn sacrifices when he married Marguerite.
bitch_please_by_teslapunk-d32znko
But life goes on. With a lot of summary and over thirty years, it goes on.
Aside from dialogues and scenes peppered here and there, the book is mostly sweet and sappy summary of their lives. Dark things happen now and then but they’re glossed over and smothered in fluff.
If this storyline was done by a competent writer, this actually could have been an entertaining series about the Martin family. There is actually plenty of material between the psychic connection, Marguerite’s tragic background, a miscarriage, a huge celebrity drugging conspiracy, two sets of twins, a near death experience, and a baby on the doorstep.
But somehow it becomes boring and plotless when it’s all crammed into one book that seems to drag on forever. During all of this my main concern, the psychic connection, was never explained. It’s just a gift from God. One that turns their “perfect” (as in creepily well behaved and mature) children into kids from The Shining. Because they also have a psychic connection. They can “feel” each other and their parents. Oh, and talk to their dead sister, apparently, when their dead sister wants to tell them about babies being left on their doorstep.
“This is Baby Sarah,” Matt said.
“Baby Sarah?” Marguerite asked.
(Both sets of twins) said “Yes. We knew she was coming.”
Chase asked, “How did you know?”
“Baby Margaret told us,” Mark said.
Also, when Chase and Marguerite choose Sarah’s full name, all four children, in a different room, wake up from a dead sleep, sit up in unison, and announce that the baby is named.
May I present the newest additions to the Martin family?
If you want to read a rockstar romance, I recommend Love’s Rhythm by Lexxie Couper, which isn’t perfectly crafted, but leagues beyond The Band 4: The Air We Breathe.
5 Minute Movie Guy (379 KP) rated If I Stay (2014) in Movies
Jun 28, 2019
The film's "live or die" premise is dumb, dangerous, and downright offensive. (4 more)
A totally lousy and illogical love story that lacks any heart.
The dialogue is almost as bad as Adam's 8-year-old-grade-level music lyrics.
It's far too frustrating and bland to be emotionally effective. The only pity I felt was for myself for having to sit through it for two hours.
If I Stay is unforgivable and reprehensible garbage. It should be avoided like the plague.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. If I Stay disappoints and offends on nearly every conceivable level.
Imagine yourself in a situation where your whole life is turned upside-down in an instant, and nothing will ever be the same again. That’s the troubling position young Mia Hall is faced with in If I Stay, after her and her family are involved in a terrible car accident. Mia wakes up from the crash, only to discover that she’s having some sort of transcendental experience, where she sees her own lifeless body being treated by paramedics. In her ghost-like form, no one is able to see or hear her, leaving her helpless as she watches her tragedy unfold. The devastating crash put her into a comatose state, and as she teeters on the verge of life and death, she’s informed by her nurse that whether or not she lives is entirely predicated on her will to survive. Based on the young adult novel by Gayle Forman, If I Stay asks us if life is still worth living even when all hope appears to be lost. Whether it’s really even worth it to endure life’s cruel hardship and heartache, and to muster the courage to face another day.
Well, if you answered that question with a resounding “yes!”, then like me, you’ll probably find this movie to be pretty darn stupid. Actually, regardless of your opinion on the matter, I think it would be hard for anyone to escape the fact that this movie is pretty darn stupid. However, as much as I find the central question of the movie to be absurd and even offensive, it didn’t detract from my interest in seeing the film. So let’s not make the assumption that I disliked this movie from the get-go, because that’s really just not true. Even though I may disagree with it, I can certainly sympathize with the idea of a teenager who is experiencing a life-shattering trauma and is afraid to continue living on afterward. However, I would personally argue that she hasn’t actually experienced any of that at all. She’s living in an extra dimensional safe-zone. Her horror can’t be real unless she makes it real by returning to life to face it. To look at it another way, couldn’t we say that if she chose death instead, that she never would have experienced the tragedy at all since she was stuck in a coma, and that she would be dead without ever knowing the fate of her family? That’s what I think, though I’ll admit it’s rather complicated as it draws upon unanswerable questions. To be frank, it’s a bogus scenario for a bogus movie that isn’t even worthy of that much thought, and clearly wasn’t ever given that much thought.
Before I digress on this topic, I’d like to look into a few of its implications, because I think it’s sending a terrible and dangerous message to its viewers, particularly the teenagers it’s targeted to. Basically, I believe the film is implying that death is a perfectly okay alternative to facing an undesirable change. I find that very idea to be immoral, irresponsible, and horribly atrocious. “Sorry your dad died, Timmy. If you can’t bear to live another day and want to end it all right here, well that’s okay with us. We understand and we won’t judge!” Are you kidding me? What kind of a message are they trying to send here? “Bad day? Just give up! Things are great here in Heaven! Join us today!” Is that really what they’re trying to tell us? How is anyone possibly okay with this? The film is essentially preaching that killing yourself is a perfectly acceptable option when life gets hard, and I have a really big problem with that. Whether we want to think about it or not, suicide is always an option we have in life, but that doesn’t mean that we should encourage it or try to pretend that it’s ever a favorable opportunity. Mia doesn’t even know what life will be like if she wakes up because she hasn’t lived it yet. Her fears are fully based off of negative assumptions. Yeah, maybe things will be really hard if she comes out of her coma. Maybe she’ll wish she was dead. Or maybe she’ll go through some difficult times, but then maybe things will get better and she’ll pick up the pieces and end up living a wonderful and happy life. Had she actually endured this new life and struggled with thoughts about suicide, I think it would have made for a far more compelling narrative, rather than all of this hypothetic nonsense. Either way, good or bad, life goes on. It’s up to us to adapt to it. Where there is hope, there is always possibility. With all that said, I would still contend that If I Stay’s premise is only the tip of the iceberg of its problems. This supposed tear-jerked failed to stir up any sympathy or sadness from me, and there are a few major reasons why.
First of all, it completely fails as a love story. The film is almost entirely devoid of romance, and has no believable connection between Mia and her boyfriend, Adam. Rather than being a Prince Charming type, Adam’s mostly just a jerk that she shouldn’t be wasting her time with in the first place. Yet the movie tries to make you believe that it’s love, and that this is what all normal relationships are like. It’s a complete crock. Movies like this give girls a false understanding of what love should be, and I find that to be an unforgivable offense. Adam’s the local hot shot rocker who falls for Mia, the talented young cello player who aspires to go to the renowned music school Julliard in New York. Adam manages to win her heart and the two of them start dating. Unfortunately though, their relationship can be pretty unpleasant to watch. Adam’s living the life of a local rock star and is blindly dragging Mia along for the ride, introducing the sweet, young girl to a world of parties, sex, and alcohol. Adam’s utterly oblivious to her disinterest in such a lifestyle and he rarely shows any concern for her feelings anyway. Yet she’s so foolishly committed to him that she follows this path of corruption, all for a guy who only thinks about himself. I thought this was supposed to be a love story, but it’s severely lacking in the love department. Just because Adam occasionally does something nice, we’re supposed to think he’s a good guy and forgive him for the majority of the time when he’s a lousy boyfriend and a loser? Of course, how romantic! Their whole relationship is lifeless and immensely frustrating. If living with him was my alternative to death, believe me, I’d choose death without hesitation.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. Even with my friend there, I still thought about leaving, then had a good laugh about the film’s title being so perfectly appropriate, as I contemplated to myself whether or not I should go. As much as I wanted to leave, I stuck it out all the way to the end. Then the entire audience ended up laughing at the ending, which goes to show I was far from the only one that thought this movie was a complete joke and waste of time. I had more than a few laughs at the film’s expense, from its dumb and derivative dialogue, to the way Chloe Grace Moretz slightly crosses her eyes whenever she’s upset. While I think I still remained open-minded about the film despite my issues with the story, I really don’t think the film itself was any good, nor does it appear to serve any purpose. Seriously, what’s the point of this movie? To give people hope that you can overcome obstacles in life? To justify suicide? I don’t know. Halfway through the movie, I was so disengaged from it that I was imagining how fun it would be to do cartwheels in the theater. That must be the lesson that I learned from all this. Well, that and to steer clear of crummy musicians, I suppose. While I’ve heard a lot of praise about the film’s soundtrack, I thought Adam’s band was quite horrendous. They do have a moment of redemption when they cover a Smashing Pumpkins song, which may have been the only good moment in this otherwise pitiful movie. I also found the lyrics of that song to be unusually appropriate to my misery when they said, “I’ll rip my eyes out, before I get out.” It’s almost funny that this might have been the only moment of the movie I could actually relate to: the thought of ripping my eyes out before being able to leave.
If I Stay is a movie that disappoints and offends on nearly every conceivable level. The saddest thing about this film is that garbage like this actually exists. Its pro-death agenda is just plain horrible and ill-conceived. It also troubles me greatly to think that teenage girls might watch this film and think that Mia and Adam’s tumultuous relationship is a desirable model of love. Lastly, I’d like to note that the If I Stay novel does have a follow-up book titled Where She Went. Wherever she goes, I sure hope it’s not back to theaters. If I have to sit through another If I Stay movie, I might just give up on life myself.
(This review was originally posted at 5mmg.com on 9.5.14.)
Well, if you answered that question with a resounding “yes!”, then like me, you’ll probably find this movie to be pretty darn stupid. Actually, regardless of your opinion on the matter, I think it would be hard for anyone to escape the fact that this movie is pretty darn stupid. However, as much as I find the central question of the movie to be absurd and even offensive, it didn’t detract from my interest in seeing the film. So let’s not make the assumption that I disliked this movie from the get-go, because that’s really just not true. Even though I may disagree with it, I can certainly sympathize with the idea of a teenager who is experiencing a life-shattering trauma and is afraid to continue living on afterward. However, I would personally argue that she hasn’t actually experienced any of that at all. She’s living in an extra dimensional safe-zone. Her horror can’t be real unless she makes it real by returning to life to face it. To look at it another way, couldn’t we say that if she chose death instead, that she never would have experienced the tragedy at all since she was stuck in a coma, and that she would be dead without ever knowing the fate of her family? That’s what I think, though I’ll admit it’s rather complicated as it draws upon unanswerable questions. To be frank, it’s a bogus scenario for a bogus movie that isn’t even worthy of that much thought, and clearly wasn’t ever given that much thought.
Before I digress on this topic, I’d like to look into a few of its implications, because I think it’s sending a terrible and dangerous message to its viewers, particularly the teenagers it’s targeted to. Basically, I believe the film is implying that death is a perfectly okay alternative to facing an undesirable change. I find that very idea to be immoral, irresponsible, and horribly atrocious. “Sorry your dad died, Timmy. If you can’t bear to live another day and want to end it all right here, well that’s okay with us. We understand and we won’t judge!” Are you kidding me? What kind of a message are they trying to send here? “Bad day? Just give up! Things are great here in Heaven! Join us today!” Is that really what they’re trying to tell us? How is anyone possibly okay with this? The film is essentially preaching that killing yourself is a perfectly acceptable option when life gets hard, and I have a really big problem with that. Whether we want to think about it or not, suicide is always an option we have in life, but that doesn’t mean that we should encourage it or try to pretend that it’s ever a favorable opportunity. Mia doesn’t even know what life will be like if she wakes up because she hasn’t lived it yet. Her fears are fully based off of negative assumptions. Yeah, maybe things will be really hard if she comes out of her coma. Maybe she’ll wish she was dead. Or maybe she’ll go through some difficult times, but then maybe things will get better and she’ll pick up the pieces and end up living a wonderful and happy life. Had she actually endured this new life and struggled with thoughts about suicide, I think it would have made for a far more compelling narrative, rather than all of this hypothetic nonsense. Either way, good or bad, life goes on. It’s up to us to adapt to it. Where there is hope, there is always possibility. With all that said, I would still contend that If I Stay’s premise is only the tip of the iceberg of its problems. This supposed tear-jerked failed to stir up any sympathy or sadness from me, and there are a few major reasons why.
First of all, it completely fails as a love story. The film is almost entirely devoid of romance, and has no believable connection between Mia and her boyfriend, Adam. Rather than being a Prince Charming type, Adam’s mostly just a jerk that she shouldn’t be wasting her time with in the first place. Yet the movie tries to make you believe that it’s love, and that this is what all normal relationships are like. It’s a complete crock. Movies like this give girls a false understanding of what love should be, and I find that to be an unforgivable offense. Adam’s the local hot shot rocker who falls for Mia, the talented young cello player who aspires to go to the renowned music school Julliard in New York. Adam manages to win her heart and the two of them start dating. Unfortunately though, their relationship can be pretty unpleasant to watch. Adam’s living the life of a local rock star and is blindly dragging Mia along for the ride, introducing the sweet, young girl to a world of parties, sex, and alcohol. Adam’s utterly oblivious to her disinterest in such a lifestyle and he rarely shows any concern for her feelings anyway. Yet she’s so foolishly committed to him that she follows this path of corruption, all for a guy who only thinks about himself. I thought this was supposed to be a love story, but it’s severely lacking in the love department. Just because Adam occasionally does something nice, we’re supposed to think he’s a good guy and forgive him for the majority of the time when he’s a lousy boyfriend and a loser? Of course, how romantic! Their whole relationship is lifeless and immensely frustrating. If living with him was my alternative to death, believe me, I’d choose death without hesitation.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. Even with my friend there, I still thought about leaving, then had a good laugh about the film’s title being so perfectly appropriate, as I contemplated to myself whether or not I should go. As much as I wanted to leave, I stuck it out all the way to the end. Then the entire audience ended up laughing at the ending, which goes to show I was far from the only one that thought this movie was a complete joke and waste of time. I had more than a few laughs at the film’s expense, from its dumb and derivative dialogue, to the way Chloe Grace Moretz slightly crosses her eyes whenever she’s upset. While I think I still remained open-minded about the film despite my issues with the story, I really don’t think the film itself was any good, nor does it appear to serve any purpose. Seriously, what’s the point of this movie? To give people hope that you can overcome obstacles in life? To justify suicide? I don’t know. Halfway through the movie, I was so disengaged from it that I was imagining how fun it would be to do cartwheels in the theater. That must be the lesson that I learned from all this. Well, that and to steer clear of crummy musicians, I suppose. While I’ve heard a lot of praise about the film’s soundtrack, I thought Adam’s band was quite horrendous. They do have a moment of redemption when they cover a Smashing Pumpkins song, which may have been the only good moment in this otherwise pitiful movie. I also found the lyrics of that song to be unusually appropriate to my misery when they said, “I’ll rip my eyes out, before I get out.” It’s almost funny that this might have been the only moment of the movie I could actually relate to: the thought of ripping my eyes out before being able to leave.
If I Stay is a movie that disappoints and offends on nearly every conceivable level. The saddest thing about this film is that garbage like this actually exists. Its pro-death agenda is just plain horrible and ill-conceived. It also troubles me greatly to think that teenage girls might watch this film and think that Mia and Adam’s tumultuous relationship is a desirable model of love. Lastly, I’d like to note that the If I Stay novel does have a follow-up book titled Where She Went. Wherever she goes, I sure hope it’s not back to theaters. If I have to sit through another If I Stay movie, I might just give up on life myself.
(This review was originally posted at 5mmg.com on 9.5.14.)
Hadley (567 KP) rated Heart-Shaped Box in Books
Jun 18, 2019
Unlikable characters (1 more)
Parts that weren't needed
Which one of us hasn't imagined being a successful rock star? The main character of this novel is an aging one, who has become the stereo-typical hard-ass that is expected of a death metal rock star. We begin with Judas Coyne, who hasn't made an album in years, and who is constantly running from his past- - -a habit he acquired when he ran away from home in Louisiana at the age of 19, and this is the problem that permeates Hill's 'Heart-Shaped Box.'
'Heart-Shaped Box' does a successful job of not only painting a picture of ghosts, but also of the spirits that reside in animals (like a witch's familiar), but the likable characters in this book are few and far between. Coyne treats women as objects(he literally only calls them by the State name they are from,such as Florida), and also ended his own marriage by refusing to throw away a snuff film he had obtained from a police. When the story begins, Coyne is shacked up with a young woman (nearly 30 years younger) he calls Georgia; she is described as a stereo-typical goth: black hair, black nail polish, pale white skin. This description of the women Coyne has been with seem to be about the same, but maybe a different hair color, but any other woman that is ever mentioned in the book is either very old or very overweight.
Coyne, a collector of all things dark, buys a dead man's suit that is supposedly haunted by a woman's deceased stepfather. Quite quickly things begin to happen after the suit arrives, including a decaying smell, first noticed by Coyne's 'girlfriend,' Georgia: " I know. I was wondering if there was something in one of the pockets. Something going bad. Old food." She makes Coyne take a look at the suit to see if there is something dead inside of it, but he never finds the source of the smell. Instead, he finds a picture of a young girl in one of the pockets, a girl that is very familiar to Coyne, a girl he once called 'Florida.'
Coyne doesn't seem to take any of the signs seriously that he may be haunted by a ghost that wants to harm him and anyone who comes in contact with him. Until Coyne finds himself sitting inside his restored vintage Mustang in a closed-off barn: " He snorted softly to himself. It wasn't selling souls that got you into trouble, it was buying them. Next time he would have to make sure there was a return policy. He laughed, opened his eyes a little. The dead man, Craddock, sat in the passenger seat next to him. He smiled at Jude, to show stained teeth and a black tongue. He smelled of death, also of car exhaust. His eyes were hidden behind those odd, continuously moving black brushstrokes."
Craddock turns out to be, without giving too much away, a man who was a spiritualist in his living life. He wants nothing but pain and misery for Coyne, who happened to kick his young step daughter to the curb a year before. The parts of the story that deal with both Coyne and Craddock interacting are the most interesting ones. Without these interactions, the story would have fallen very short.
That said, 'Heart-Shaped Box' had quite a few faults to it. Readers may notice that some pages contradict themselves on the very next page, Hill's overuse of Georgia's bangs (hair) as a description for all of her facial expressions, also Hill's habit of being repetitive with words that he uses to describe most things, the unbelievable part where Coyne- - - a collector of occult items- - - claims he has never used a Ouija board before (and lacks the knowledge of how to use one), and last but not least, chapter 34, a chapter that was not needed and completely stopped the story in it's tracks.
And speaking of things that were not needed in the story- - - a part where Georgia has a gun in her mouth, ready to commit suicide, Coyne can only think to remove the gun and replace it with his penis. I understand that Hill may have been going for unlikable characters from the beginning, to really have Coyne play the part of a jaded man, but sometimes Hill seems to go too far. Every book has to have a character to root for, otherwise your readers will put the book down, luckily, this book has Bammy; she is Georgia's grandmother, unfortunately, in less than 15 pages, she never appears in the story again. "You strung out? Christ. You smell like a dog." Bammy says to Georgia after she and Coyne show up at her home.
Is this book a good ghost story, yes, is this story a great horror story, no. Hill lacks on likable characters enough that I don't think a lot of people could enjoy this book. If I were to recommend it, I wouldn't recommend it to teenagers because of a much talked about snuff film, drugs and suicide. I don't think I would read this again.
'Heart-Shaped Box' does a successful job of not only painting a picture of ghosts, but also of the spirits that reside in animals (like a witch's familiar), but the likable characters in this book are few and far between. Coyne treats women as objects(he literally only calls them by the State name they are from,such as Florida), and also ended his own marriage by refusing to throw away a snuff film he had obtained from a police. When the story begins, Coyne is shacked up with a young woman (nearly 30 years younger) he calls Georgia; she is described as a stereo-typical goth: black hair, black nail polish, pale white skin. This description of the women Coyne has been with seem to be about the same, but maybe a different hair color, but any other woman that is ever mentioned in the book is either very old or very overweight.
Coyne, a collector of all things dark, buys a dead man's suit that is supposedly haunted by a woman's deceased stepfather. Quite quickly things begin to happen after the suit arrives, including a decaying smell, first noticed by Coyne's 'girlfriend,' Georgia: " I know. I was wondering if there was something in one of the pockets. Something going bad. Old food." She makes Coyne take a look at the suit to see if there is something dead inside of it, but he never finds the source of the smell. Instead, he finds a picture of a young girl in one of the pockets, a girl that is very familiar to Coyne, a girl he once called 'Florida.'
Coyne doesn't seem to take any of the signs seriously that he may be haunted by a ghost that wants to harm him and anyone who comes in contact with him. Until Coyne finds himself sitting inside his restored vintage Mustang in a closed-off barn: " He snorted softly to himself. It wasn't selling souls that got you into trouble, it was buying them. Next time he would have to make sure there was a return policy. He laughed, opened his eyes a little. The dead man, Craddock, sat in the passenger seat next to him. He smiled at Jude, to show stained teeth and a black tongue. He smelled of death, also of car exhaust. His eyes were hidden behind those odd, continuously moving black brushstrokes."
Craddock turns out to be, without giving too much away, a man who was a spiritualist in his living life. He wants nothing but pain and misery for Coyne, who happened to kick his young step daughter to the curb a year before. The parts of the story that deal with both Coyne and Craddock interacting are the most interesting ones. Without these interactions, the story would have fallen very short.
That said, 'Heart-Shaped Box' had quite a few faults to it. Readers may notice that some pages contradict themselves on the very next page, Hill's overuse of Georgia's bangs (hair) as a description for all of her facial expressions, also Hill's habit of being repetitive with words that he uses to describe most things, the unbelievable part where Coyne- - - a collector of occult items- - - claims he has never used a Ouija board before (and lacks the knowledge of how to use one), and last but not least, chapter 34, a chapter that was not needed and completely stopped the story in it's tracks.
And speaking of things that were not needed in the story- - - a part where Georgia has a gun in her mouth, ready to commit suicide, Coyne can only think to remove the gun and replace it with his penis. I understand that Hill may have been going for unlikable characters from the beginning, to really have Coyne play the part of a jaded man, but sometimes Hill seems to go too far. Every book has to have a character to root for, otherwise your readers will put the book down, luckily, this book has Bammy; she is Georgia's grandmother, unfortunately, in less than 15 pages, she never appears in the story again. "You strung out? Christ. You smell like a dog." Bammy says to Georgia after she and Coyne show up at her home.
Is this book a good ghost story, yes, is this story a great horror story, no. Hill lacks on likable characters enough that I don't think a lot of people could enjoy this book. If I were to recommend it, I wouldn't recommend it to teenagers because of a much talked about snuff film, drugs and suicide. I don't think I would read this again.
Kristy H (1252 KP) rated The Other Mother in Books
Apr 10, 2018
Twisty psychological thriller
When Daphne flees her home, taking very little but her six-month-old daughter, Chloe, she isn't sure what to expect. She's leaving everything behind (including her controlling husband) to work for one of her favorite authors, Schuyler, as an archivist. She'll be living in the shadow of a mental hospital, which Schulyer's late father ran for many years. Daphne hopes this will be a new start and a way to escape both her husband and the dark moods, diagnosed as postpartum mood disorder, she felt when Chloe was born. She'll also miss her friend, Laurel, with whom she formed a tight bond after meeting in a mother's group.
Get ready: this book is a crazy, bewildering ride. It will also always have the distinction of being the novel I was reading on an airplane trip to San Diego when one of my five-year-old daughters threw up. Twice. So it will be memorable in several ways. :)
If you're looking for an easy, linear psychological thriller, this one may not be for you. This novel is confusing and crazy and makes you question everything you're reading. But it's an exciting, twisty thriller and a great, fast read (and a welcome distraction from vomiting children). Most of it is told in current-day descriptions from Daphne, along with excerpts from her journal from her postpartum mothers group. As Daphne meets her new boss, Schuyler, and becomes fascinated with a patient of her father's, Edith, we also eventually hear from Edith and excerpts from Edith's journal, too. The entire result is a wonderful, twisted, tale that has you frantically turning pages, trying to work things out and figure out who is who and what the heck is going on.
I don't want to reveal too much, as it's best going in without too many preconceived notions. The novel has a bit of gothic in it, as many of Goodman's do, with the mental hospital looming in the background. The idea of postpartum depression and motherhood is a theme running throughout, as well.
Overall, even though I was sometimes frustrated as I tried to work through this one, I wound up enjoying it. I was impressed at how things came together and enjoyed the wild ride I was on. I've loved Goodman since The Lake of Dead Languages and find myself looking forward to each new novel she releases. This one was different, but I was quite caught up in its characters and dark themes. Definitely worth a read.
I received a copy of this novel from the publisher and Librarything in return for an unbiased review (thank you!).
Get ready: this book is a crazy, bewildering ride. It will also always have the distinction of being the novel I was reading on an airplane trip to San Diego when one of my five-year-old daughters threw up. Twice. So it will be memorable in several ways. :)
If you're looking for an easy, linear psychological thriller, this one may not be for you. This novel is confusing and crazy and makes you question everything you're reading. But it's an exciting, twisty thriller and a great, fast read (and a welcome distraction from vomiting children). Most of it is told in current-day descriptions from Daphne, along with excerpts from her journal from her postpartum mothers group. As Daphne meets her new boss, Schuyler, and becomes fascinated with a patient of her father's, Edith, we also eventually hear from Edith and excerpts from Edith's journal, too. The entire result is a wonderful, twisted, tale that has you frantically turning pages, trying to work things out and figure out who is who and what the heck is going on.
I don't want to reveal too much, as it's best going in without too many preconceived notions. The novel has a bit of gothic in it, as many of Goodman's do, with the mental hospital looming in the background. The idea of postpartum depression and motherhood is a theme running throughout, as well.
Overall, even though I was sometimes frustrated as I tried to work through this one, I wound up enjoying it. I was impressed at how things came together and enjoyed the wild ride I was on. I've loved Goodman since The Lake of Dead Languages and find myself looking forward to each new novel she releases. This one was different, but I was quite caught up in its characters and dark themes. Definitely worth a read.
I received a copy of this novel from the publisher and Librarything in return for an unbiased review (thank you!).
Midge (525 KP) rated The Playing Card Killer in Books
Feb 19, 2019
A Fantastic, Creepy Thriller!
Well, I have to say that I enjoyed every minute of this cracking crime/thriller!
I loved that, straight-away, Russell James introduces Brian Sheridan, who is currently on medication for anxiety-related problems. Brian decides to stop taking his medication as he thinks that he is living life through fog and haze which he hates. As a result, he is tormented by dreams of women being strangled, then left with a playing card tucked in their corpse. When he sees an apparent victim on the news, dead, Brian fears he may be the unwitting killer. Detective Eric Weissbard thinks the same thing and starts to build a case to get Brian convicted. But there's so much more to these murders…
Brian discovers that he has a brother, Tyler, with a penchant for murder. Tyler is willing to frame Brian for the crimes unless Brian wants to join Team Playing Card Killer.
Russell James’ sympathetic portrayal of the immensely likeable Brian was wonderful to read as his neuroses and delusions were laid bare and there was no hidden side to him. Brian is a troubled young man with an adoptive family with whom he barely has any sort of relationship. His girlfriend, Daniela, by contrast, is confident, and self -assured and she delivers Brian an ultimatum - either he continues with his medication or she will leave him.
I also liked Russell James’ fantastic character portrayal of Detective Weissbard who is talented, analytical and operates mostly and very successfully on gut instinct. However, he is disrespected by his colleagues and is assigned to chasing all the non-eventful leads and red herrings. That is until a jittery young guy arrives at the station, claiming to have detailed knowledge of the investigation that hasn’t been revealed.
For me, THE PLAYING CARD KILLER explores some freaky imaginings and is full of creepy vibes. It's a fantastic thriller that surprised me with a mystery that borders on a grim horror novel. I was never quite sure exactly how far off the rails Brian had gone or where the author was going next with this disturbing but exciting story. The suspense was so great that I was on the edge of my seat because I was so absorbed with Brian and Detective Weissbard.
THE PLAYING CARD KILLER held my interest from start to finish and the way in which Russell James brought everything to a conclusion was just fabulous. I loved it and it has left me eager to read more from this author. I would recommend THE PLAYING CARD KILLER to anyone who likes this genre.
[Thank you to NetGalley, Flame Tree Press and Russell James for a free ARC of this book in exchange for a voluntary, honest review.]
I loved that, straight-away, Russell James introduces Brian Sheridan, who is currently on medication for anxiety-related problems. Brian decides to stop taking his medication as he thinks that he is living life through fog and haze which he hates. As a result, he is tormented by dreams of women being strangled, then left with a playing card tucked in their corpse. When he sees an apparent victim on the news, dead, Brian fears he may be the unwitting killer. Detective Eric Weissbard thinks the same thing and starts to build a case to get Brian convicted. But there's so much more to these murders…
Brian discovers that he has a brother, Tyler, with a penchant for murder. Tyler is willing to frame Brian for the crimes unless Brian wants to join Team Playing Card Killer.
Russell James’ sympathetic portrayal of the immensely likeable Brian was wonderful to read as his neuroses and delusions were laid bare and there was no hidden side to him. Brian is a troubled young man with an adoptive family with whom he barely has any sort of relationship. His girlfriend, Daniela, by contrast, is confident, and self -assured and she delivers Brian an ultimatum - either he continues with his medication or she will leave him.
I also liked Russell James’ fantastic character portrayal of Detective Weissbard who is talented, analytical and operates mostly and very successfully on gut instinct. However, he is disrespected by his colleagues and is assigned to chasing all the non-eventful leads and red herrings. That is until a jittery young guy arrives at the station, claiming to have detailed knowledge of the investigation that hasn’t been revealed.
For me, THE PLAYING CARD KILLER explores some freaky imaginings and is full of creepy vibes. It's a fantastic thriller that surprised me with a mystery that borders on a grim horror novel. I was never quite sure exactly how far off the rails Brian had gone or where the author was going next with this disturbing but exciting story. The suspense was so great that I was on the edge of my seat because I was so absorbed with Brian and Detective Weissbard.
THE PLAYING CARD KILLER held my interest from start to finish and the way in which Russell James brought everything to a conclusion was just fabulous. I loved it and it has left me eager to read more from this author. I would recommend THE PLAYING CARD KILLER to anyone who likes this genre.
[Thank you to NetGalley, Flame Tree Press and Russell James for a free ARC of this book in exchange for a voluntary, honest review.]