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Hadley (567 KP) rated Those Bones Are Not My Child in Books
Nov 12, 2019
A different type of True Crime book (1 more)
Things you probably didn't know about the case
Writing transitions are confusing (1 more)
Smash poetry breaks up the flow
Toni Cade Bambara, a writer, documentary filmmaker and screenwriter, gives True Crime readers a unique viewpoint of the real Atlanta Child Murders. Bambara mostly writes from the eyes of Marzala, a mother of three whose oldest son goes missing during one of the worst murder sprees in Atlanta's history. Marzala and her family were not actual people during this time- - - all of them are based off of parents and siblings of the real victims. Not soon after Marzala does everything she can with the police to find her son, she joins a group of African-Americans that are outraged by the lack of progress to catch who is killing Atlanta's black children. This group forms what is called STOP (a citizen-run task force). For the majority of the book, Marzala with most of the black community in the area typed out letters to prominent government officials asking for help to stop the murders, also using Vietnam vets in the area to use their tracking skills to keep an eye on suspects, and investigating buildings that police refused to believe had anything to do with the childrens' disappearances and/or murders, which Bambara did an amazing job putting all the real facts together of the actual community members that were involved with this at the time. This story is upsetting, but enlightening on how politics may have caused so many children to be murdered. This is a story no reader will ever forget.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
groundedGeek (4 KP) rated This American Life in Podcasts
Jan 10, 2018
Almost always great
The topics on this show are sometimes hit-or-miss, but often you will come across an absolute gem of a theme and the stories shared are fascinating. I rated it higher because more often than not I find the topics really interesting. On occasion there will be a dud where the host isn't as engaging or the stories just aren't my taste, but the great thing about the show is that even those episodes hit home for someone most likely. There really is something for everyone in this series... if the current episode doesn't float your boat, it's likely a previous one will be fascinating or maybe the next topic will be right up your alley.
The episodes are "investigative" in nature where the host has interviewed people and tells the true story as they go, but like many "documentary" style features in this day and age... they can sometimes be driven to tell the story they want you to hear, guiding you to the conclusion that fits their narrative rather than simply providing the facts and letting the listener draw their own conclusions. To be fair, this makes it more entertaining... because simple fact-finding would likely be boring in podcast form. It's not necessarily a criticism... Michael Moore is an example of the worst purveyor of this kind of "documentary" style... generate a conclusion, craft the clips, audio and narrative to support that conclusion... voila... Michael Moore movie. While I don't prefer that style of "documentary" because it is obviously biased, there is no doubt that Michael Moore knows how to sell his story and makes entertaining films. TAL is not quite the same, it's probably unfair to put them in that category, but there is with some of the hosts, a definite feel that they have the conclusion they want you to draw firm in their mind when they provide the accompanying stories...
Other times there isn't any agenda, they simply want to provide you with fascinating stories about fascinating people in this fascinating country... and when they do that, they do it spectacularly. I feel like my criticism above could possibly be misconstrued as a knock on the show, but discerning listeners likely recognize when this is sometimes happening and it doesn't take away from the enjoyment of the journey the show takes you on. It's not a knock, it's a fun show.
The episodes are "investigative" in nature where the host has interviewed people and tells the true story as they go, but like many "documentary" style features in this day and age... they can sometimes be driven to tell the story they want you to hear, guiding you to the conclusion that fits their narrative rather than simply providing the facts and letting the listener draw their own conclusions. To be fair, this makes it more entertaining... because simple fact-finding would likely be boring in podcast form. It's not necessarily a criticism... Michael Moore is an example of the worst purveyor of this kind of "documentary" style... generate a conclusion, craft the clips, audio and narrative to support that conclusion... voila... Michael Moore movie. While I don't prefer that style of "documentary" because it is obviously biased, there is no doubt that Michael Moore knows how to sell his story and makes entertaining films. TAL is not quite the same, it's probably unfair to put them in that category, but there is with some of the hosts, a definite feel that they have the conclusion they want you to draw firm in their mind when they provide the accompanying stories...
Other times there isn't any agenda, they simply want to provide you with fascinating stories about fascinating people in this fascinating country... and when they do that, they do it spectacularly. I feel like my criticism above could possibly be misconstrued as a knock on the show, but discerning listeners likely recognize when this is sometimes happening and it doesn't take away from the enjoyment of the journey the show takes you on. It's not a knock, it's a fun show.
*＊✿❀ Maki ❀✿＊* (7 KP) rated Sword Art Online: 1: Aincrad in Books
May 3, 2018
I don't know why I did this to myself. I knew I wasn't going to enjoy it. I suppose that in my mind, I thought of it as reconnaissance work, to try to better understand where all of the "Kirito" and "Asuna" clones suddenly flooding the few MMOs I played were coming from.
<img src="http://i1321.photobucket.com/albums/u556/kotonemaki/For%20R%20Purposes/12.29.12%20If%20SAO%20was%20Real_zpsjsrg8fz5.jpg"/>;
I enjoyed the premise of the light novel - the whole "being trapped in a video game until you beat it and if you die in the game you die in real life" thing. I also liked the idea that once in the game, the players were stripped of their anonymity. They were forced to play as themselves, rather than the avatars they had created to represent themselves.
And it's nice that the novel/anime/manga have managed to carve out their own space in the "virtual reality gone wrong" genre, and give .hack// some competition.
But I really, <i>really</i> did not like Kirito.
Maybe I'm a bit prejudiced against the character because of the flood of people naming themselves Kirito in MMOs who made the games obnoxious to play for months on end, since a good portion of them had no idea what they were doing. They all chose to play tanks (of course) and completely ruined it for people looking for a tank who knew what they were doing, or made it harder for actual tanks to get a party, because nobody trusted anybody to know what they were doing in those dark years after the anime first came out.
Maybe it's because Kirito (the actual character) was such a complete special snowflake, without any real redeeming qualities, other than the fact that he managed to luck into his power. That, and his relationship with Asuna are all that really define his character.
I've heard that their characters and the build up of their relationship are handled better in the anime, and doesn't come across as so insta-love. But to be honest, I've got no desire to watch the anime just to get character development when it should have been handled better in the novel that the anime was based on in the first place.
<img src="http://i1321.photobucket.com/albums/u556/kotonemaki/For%20R%20Purposes/12.29.12%20If%20SAO%20was%20Real_zpsjsrg8fz5.jpg"/>;
I enjoyed the premise of the light novel - the whole "being trapped in a video game until you beat it and if you die in the game you die in real life" thing. I also liked the idea that once in the game, the players were stripped of their anonymity. They were forced to play as themselves, rather than the avatars they had created to represent themselves.
And it's nice that the novel/anime/manga have managed to carve out their own space in the "virtual reality gone wrong" genre, and give .hack// some competition.
But I really, <i>really</i> did not like Kirito.
Maybe I'm a bit prejudiced against the character because of the flood of people naming themselves Kirito in MMOs who made the games obnoxious to play for months on end, since a good portion of them had no idea what they were doing. They all chose to play tanks (of course) and completely ruined it for people looking for a tank who knew what they were doing, or made it harder for actual tanks to get a party, because nobody trusted anybody to know what they were doing in those dark years after the anime first came out.
Maybe it's because Kirito (the actual character) was such a complete special snowflake, without any real redeeming qualities, other than the fact that he managed to luck into his power. That, and his relationship with Asuna are all that really define his character.
I've heard that their characters and the build up of their relationship are handled better in the anime, and doesn't come across as so insta-love. But to be honest, I've got no desire to watch the anime just to get character development when it should have been handled better in the novel that the anime was based on in the first place.
Rachel King (13 KP) rated Quatrain in Books
Feb 11, 2019
This book is four short stories that each take place in a different world of Shinn's creation. I am only familiar with two of those worlds, so I read the corresponding stories first, starting with Flight. This story was interesting as it gave me a peek into the corruption that was occurring at Windy Point with the Archangel Raphael, and how the lesser people viewed the angels at this time. The ending was slightly disappointing, but I understand that Shinn could not cause any major drama regarding Raphael since this story is meant to be a prequel to Archangel (Samaria, Book 1).
The second story I read was Flame, which centered around Senneth, the mystic who wields fire, with appearances by several of the other characters that appear in the Twelve Houses series, starting with Mystic and Rider (The Twelve Houses, Book 1). I enjoyed this story because it gave me an idea of what Senneth did when she was a lone nomad, as well as how the people of Gillengaria reacted when a new mystic was discovering her abilities. I can't imagine being in such a situation and not reacting similarly. This story also shows how Senneth and Tayse first meet and her first thoughts at this meeting, which is intriguing enough that I hope she writes more in the Twelve Houses series.
The third story I read was Gold, based in the world from her book, Summers at Castle Auburn, which I have not read. This story centers around a princess living in the land of Alora for a time, which is strikingly similar to the concepts of the world of Fae, and how she fights to resist the allure. I enjoyed this story so much that I intend to read the book it is based on to get more of the tantalizing story between Orlain and Zara. This was my favorite short story of the book.
I read maybe two pages of the story Blood before I lost interest and shut the book. This story is based on her previous work Heart of Gold, which is a science fiction title. I have very little interest in this genre, and I did not feel compelled to read this particular story, which is not to say that the story was bad. It's just not my cup of tea.
The second story I read was Flame, which centered around Senneth, the mystic who wields fire, with appearances by several of the other characters that appear in the Twelve Houses series, starting with Mystic and Rider (The Twelve Houses, Book 1). I enjoyed this story because it gave me an idea of what Senneth did when she was a lone nomad, as well as how the people of Gillengaria reacted when a new mystic was discovering her abilities. I can't imagine being in such a situation and not reacting similarly. This story also shows how Senneth and Tayse first meet and her first thoughts at this meeting, which is intriguing enough that I hope she writes more in the Twelve Houses series.
The third story I read was Gold, based in the world from her book, Summers at Castle Auburn, which I have not read. This story centers around a princess living in the land of Alora for a time, which is strikingly similar to the concepts of the world of Fae, and how she fights to resist the allure. I enjoyed this story so much that I intend to read the book it is based on to get more of the tantalizing story between Orlain and Zara. This was my favorite short story of the book.
I read maybe two pages of the story Blood before I lost interest and shut the book. This story is based on her previous work Heart of Gold, which is a science fiction title. I have very little interest in this genre, and I did not feel compelled to read this particular story, which is not to say that the story was bad. It's just not my cup of tea.
Movie Metropolis (309 KP) rated You're Next (2013) in Movies
Jun 11, 2019
Finding a good horror film has been a little like a prompt train over the last few years, they are few and far between. However, 2013 has produced more than its fair share of movies within the genre, with the excellent The Purge, released earlier this year; Insidious 2, which is in cinemas this autumn and of course, the subject of this review; You’re Next. But can this modern horror film deliver the thrills and spills of those of yesteryear?
Relative newcomer Adam Wingard directs this rather formulaic home invasion film with some nice creative touches and a rousing score, borrowing heavily from other similar films like the dire When a Stranger Calls, the excellent The Strangers and the downright ridiculous Black Christmas.
However, what sets You’re Next apart from the pack is in its comic timing. Rather than going for full shock value, the film delivers a comedic edge which is welcome in breaking up the bludgeoning and stabbing, which there is a huge amount of.
The plot is simple, a family gathers at their parents’ large manor house to celebrate an anniversary, only to be taunted and butchered by a group of masked killers intent on ruining the party. There are the usual horror clichés of people being watched from outside, people being crept up on from behind and the gem that is thinking there is someone there and realising it’s just a member of the family, but Wingard keeps it feeling fresh and new throughout.
The acting is generally terrible, as is the case with many horror films, but because the movie never takes itself too seriously, the performances add to the overall effect rather than become an annoyance. One stand-out characterisation is Sharni Vinson as Erin, a larger than life Australian who really comes into her own in the battle between the ever decreasing family and the constant onslaught of the masked murderers.
Whilst not scaling the heights of last year’s Cabin in the Woods, You’re Next really helps show that there is life in a genre which has been inundated with cheap knock-offs, countless sequels and pointless remakes.
It is daft, unoriginal and full of lifeless characters, but as a slice of truly terrifying horror and a piece of laugh out loud dark comedy, it succeeds and is highly recommended.
Relative newcomer Adam Wingard directs this rather formulaic home invasion film with some nice creative touches and a rousing score, borrowing heavily from other similar films like the dire When a Stranger Calls, the excellent The Strangers and the downright ridiculous Black Christmas.
However, what sets You’re Next apart from the pack is in its comic timing. Rather than going for full shock value, the film delivers a comedic edge which is welcome in breaking up the bludgeoning and stabbing, which there is a huge amount of.
The plot is simple, a family gathers at their parents’ large manor house to celebrate an anniversary, only to be taunted and butchered by a group of masked killers intent on ruining the party. There are the usual horror clichés of people being watched from outside, people being crept up on from behind and the gem that is thinking there is someone there and realising it’s just a member of the family, but Wingard keeps it feeling fresh and new throughout.
The acting is generally terrible, as is the case with many horror films, but because the movie never takes itself too seriously, the performances add to the overall effect rather than become an annoyance. One stand-out characterisation is Sharni Vinson as Erin, a larger than life Australian who really comes into her own in the battle between the ever decreasing family and the constant onslaught of the masked murderers.
Whilst not scaling the heights of last year’s Cabin in the Woods, You’re Next really helps show that there is life in a genre which has been inundated with cheap knock-offs, countless sequels and pointless remakes.
It is daft, unoriginal and full of lifeless characters, but as a slice of truly terrifying horror and a piece of laugh out loud dark comedy, it succeeds and is highly recommended.
I enjoyed this fantasy book despite not particularly connecting with the main character. Katsa can be harsh and unrelatable, but the plot of the book is interesting. I listened to the book rather than reading it, so I think that I noticed the writing style/grammar problems less than those who were actually looking at the words.
The premise was fascinating - some people grow into special abilities called graces although each grace is different. Katsa has a fighting grace, which her King has her use to intimidate and harm people. Despite hating it, she never fights against it and accepts her position as a killer. I understand the fear of the King's anger, but cannot reconcile that with allowing oneself to be used and abused in such a manner. She is a fighter and strong enough that no one should be able to command her. Her freedom and her choices should be her own, but she allows herself to be manipulated for a long time.
Po, on the other hand, was very likable. He brings out a better side of Katsa and forces her to realize that she does not have to be the King's puppet. He is intelligent, a revered fighter and kind. I also liked another character, but as they do not have a role until the later half of the book - I'm afraid that talking about them might spoil details.
The world building was decent and I hope that it is expanded in future books, as this is not a standalone. The journey Katsa goes on is chronicled beautifully, but I don't feel like I know the world itself or its monarchies well. There are seven kingdoms and I would not be able to detail customs, names or climate of many of them.
Overall, the plot is relatively predictable although there were a few points that weren't expected. The pacing was steady throughout, but some scene changes and plot progressions seemed to jump forward when the plot would have been better served if they were expanded upon. For example, the conflict of the plot built and then the climax and "resolution" was mere moments so if you weren't paying close attention you may have missed it.
I would recommend this to young adult/teen readers who enjoy fantasy books - and I can't wait to read the next book in the series.
The premise was fascinating - some people grow into special abilities called graces although each grace is different. Katsa has a fighting grace, which her King has her use to intimidate and harm people. Despite hating it, she never fights against it and accepts her position as a killer. I understand the fear of the King's anger, but cannot reconcile that with allowing oneself to be used and abused in such a manner. She is a fighter and strong enough that no one should be able to command her. Her freedom and her choices should be her own, but she allows herself to be manipulated for a long time.
Po, on the other hand, was very likable. He brings out a better side of Katsa and forces her to realize that she does not have to be the King's puppet. He is intelligent, a revered fighter and kind. I also liked another character, but as they do not have a role until the later half of the book - I'm afraid that talking about them might spoil details.
The world building was decent and I hope that it is expanded in future books, as this is not a standalone. The journey Katsa goes on is chronicled beautifully, but I don't feel like I know the world itself or its monarchies well. There are seven kingdoms and I would not be able to detail customs, names or climate of many of them.
Overall, the plot is relatively predictable although there were a few points that weren't expected. The pacing was steady throughout, but some scene changes and plot progressions seemed to jump forward when the plot would have been better served if they were expanded upon. For example, the conflict of the plot built and then the climax and "resolution" was mere moments so if you weren't paying close attention you may have missed it.
I would recommend this to young adult/teen readers who enjoy fantasy books - and I can't wait to read the next book in the series.
Goddess in the Stacks (553 KP) rated Reign of the Fallen in Books
Mar 22, 2018
Reign of the Fallen has a pretty interesting premise - there are a few different school of magic in this world, and our main character is a necromancer. (One of the side characters is a Beast Master, and another is a Healer. We also see Weather Mages.) Necromancers, far from being the mysterious evil mages we see in most fantasy, are revered and noble in this world; they bring souls back from the Deadlands, when they can, so they can continue "living" in the real world. "Living" is a loose term - they must make sure they are completely covered at all times - if a living person sees any of their flesh, they turn - immediately - into terrifying monsters that hunt and kill both the living and the Dead. And the more they kill, the more powerful they become. Thankfully, people are very, very careful, and so Shades are very rare! .....or they were. Now that someone has started to purposefully make them, shit's hitting the fan.
Odessa and her friends - three other Necromancers, a Healer, a Beast Master, and a Princess - set out to solve this mystery and take out the shades wreaking havoc on the kingdom. Entwined in that plot is the near-breaking of Odessa's spirit when one of her friends dies, and the recovery from that, as well as romances with people of both genders. Yay for bisexual representation! (One of her Necromancer friends is also in a homosexual relationship with the Healer, and it's all perfectly normal. I love seeing so many fantasy YA books these days not treating that as something special or other. Yay for culture changing! Maybe someday it won't even be so out-of-the-ordinary that I'll feel the need to point it out!)
The book had a few technical problems - a few scenes where I was confused how a character had gotten someplace when I thought they were somewhere else, some confusion in how a scene was described - but those could be overlooked with how wonderful the rest of the book was.
The plot was wrapped up very nicely by the end of the book, so I don't know if there will be a sequel or not, but I really enjoyed the world and would definitely read one if she writes it!
You can find all my reviews at http://goddessinthestacks.wordpress.com
Odessa and her friends - three other Necromancers, a Healer, a Beast Master, and a Princess - set out to solve this mystery and take out the shades wreaking havoc on the kingdom. Entwined in that plot is the near-breaking of Odessa's spirit when one of her friends dies, and the recovery from that, as well as romances with people of both genders. Yay for bisexual representation! (One of her Necromancer friends is also in a homosexual relationship with the Healer, and it's all perfectly normal. I love seeing so many fantasy YA books these days not treating that as something special or other. Yay for culture changing! Maybe someday it won't even be so out-of-the-ordinary that I'll feel the need to point it out!)
The book had a few technical problems - a few scenes where I was confused how a character had gotten someplace when I thought they were somewhere else, some confusion in how a scene was described - but those could be overlooked with how wonderful the rest of the book was.
The plot was wrapped up very nicely by the end of the book, so I don't know if there will be a sequel or not, but I really enjoyed the world and would definitely read one if she writes it!
You can find all my reviews at http://goddessinthestacks.wordpress.com
Cyn Armistead (14 KP) rated Indulgence in Death (In Death, #31) in Books
Mar 1, 2018
I quite enjoyed this one. There was less gratuitous bitching between Roarke and Eve - perhaps they're learning to work together as a couple better, as most people do if they're going to make it in the long run. That's good to see depicted realistically, for a change.
The plot itself was a bit of a puzzle, and has been adequately described in the book description. I honestly can't say much more without spoilers.
One of the things I really enjoy about this series is that Eve is shown to be growing as an individual, and not just in her relationship with Roarke. She has relaxed in her interactions with her partner, Peabody. She thinks about how the current murder spree might affect her friends, and reaches out to warn some of her friends not to take any private appointments until the case is over. The Eve we met in the earliest books wouldn't have done that - for one thing, she had very few connections to other people. When she realizes that one of her friends is still grieving deeply for a loved one who was murdered in an earlier novel, she invites him over for a gathering of friends the following weekend - despite the fact that she really doesn't like socializing at all (and follows through by making that weekend happen and inviting the rest of their circle of friends).
As usual, I enjoyed the depiction of a society that has largely gotten past the need to worry about criminalizing what goes on between consenting adults or the genders of adults persons engaged in a relationship. It's still a bit silly about permitting some drugs while criminalizing others - there's no explanation of why are alcohol, tobacco, caffeine, and "boosters" and "focus" permissible while "whore," "rabbit," "zeus," "zoner," and others are illegal - but I suppose that's one of those areas where Robb/Roberts and I just don't see eye to eye.
I can't think of many authors who can take a series to 31 volumes and keep me interested. I'm not going to claim that these books are deathless prose, but they're fun, and they keep me interested. I haven't been driven to pick up anything she's published as Nora Roberts, but I'll keep reading this series for a while yet, and I might even go back someday and read this series over again from the beginning.
The plot itself was a bit of a puzzle, and has been adequately described in the book description. I honestly can't say much more without spoilers.
One of the things I really enjoy about this series is that Eve is shown to be growing as an individual, and not just in her relationship with Roarke. She has relaxed in her interactions with her partner, Peabody. She thinks about how the current murder spree might affect her friends, and reaches out to warn some of her friends not to take any private appointments until the case is over. The Eve we met in the earliest books wouldn't have done that - for one thing, she had very few connections to other people. When she realizes that one of her friends is still grieving deeply for a loved one who was murdered in an earlier novel, she invites him over for a gathering of friends the following weekend - despite the fact that she really doesn't like socializing at all (and follows through by making that weekend happen and inviting the rest of their circle of friends).
As usual, I enjoyed the depiction of a society that has largely gotten past the need to worry about criminalizing what goes on between consenting adults or the genders of adults persons engaged in a relationship. It's still a bit silly about permitting some drugs while criminalizing others - there's no explanation of why are alcohol, tobacco, caffeine, and "boosters" and "focus" permissible while "whore," "rabbit," "zeus," "zoner," and others are illegal - but I suppose that's one of those areas where Robb/Roberts and I just don't see eye to eye.
I can't think of many authors who can take a series to 31 volumes and keep me interested. I'm not going to claim that these books are deathless prose, but they're fun, and they keep me interested. I haven't been driven to pick up anything she's published as Nora Roberts, but I'll keep reading this series for a while yet, and I might even go back someday and read this series over again from the beginning.
MStykal (3 KP) rated The Resistance in Tabletop Games
Nov 20, 2018
Excellent intro into social deduction games (3 more)
Easy to teach
Creates interesting moments
High player count
Component quality is lacking (3 more)
Seriously effected by the metagame (i.e. you were a spy last game, you're a spy this game)
Outshined by other, more impressive games.
Puts introverted players in awkward situations.
Good... Until it's not
First off... I love this game. I've had some of the best moments in my gaming history playing this game. It's a simple, quick, satisfying game of bluffing and lying to your friends. But... I'm a good liar. I'm not in the camp of "This game is broken" or "I'm too good at this so it's not fun", because neither of those are true. And maybe my lack of appreciation comes from spending hours playing this over and over early on in my collections history. But truth be told, there are better games that do everything this does and more. This is a good entrance point for people into social deduction games. Unfortunately, it makes introverted people uncomfortable when another, louder, more confident gamer is shouting about something. To be honest, that's the issue with the whole genre, but this is often the starting off point that sullies more involved games for some players. Games like Burke's Gambit, which is similar but with more things players can do. Avalon, which is this game with more in depth roles. One Night Ultimate Werewolf/Alien/Vampire, which is a lot of the same but with an app to moderate it and interesting and plentiful player powers. Secret Hitler, which if you can get past the theme, is amazing, and brings the same feel but with more choices and consequences for your actions.
The Resistance is a fine game. It's only great or good until your group has built up such a metagame that it's not great or good anymore. But then something surprises you and it's back up there. Until you play with a different group. Until you play a different game. Until you evolve naturally past The Resistance into another similar game. I'd always recommend this to new gamers. Because it's a good game... Until... It's not good anymore. Then it's always there for a new friend coming to play. For a session with the new players. It's a good game... Until... It's not.
The Resistance is a fine game. It's only great or good until your group has built up such a metagame that it's not great or good anymore. But then something surprises you and it's back up there. Until you play with a different group. Until you play a different game. Until you evolve naturally past The Resistance into another similar game. I'd always recommend this to new gamers. Because it's a good game... Until... It's not good anymore. Then it's always there for a new friend coming to play. For a session with the new players. It's a good game... Until... It's not.