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Purple Phoenix Games (2266 KP) rated DiTiC in Tabletop Games
Oct 2, 2019
Purple Phoenix Games Preview
Abstract strategy games hold a special place in my heart. I’m not really a fan of Chess, but I am a fan of games that are light on rules and components but heavier in strategy needed to best your opponents. Yes, I like games that have zombies and gore or adventure and treasures as well, but abstracts are a great escape from those Ameritrashy games we all love.
So my original thought was to try to open this preview with a dastardly abstract statement to truly emphasize how theming is irrelevant with some activities. Not quite having done that, DiTiC is an abstract strategy game of “tile placement and dice-pawn” movement. How does it play? Read on.
In DiTiC the winner is the first player to upgrade one of their dice from a smaller-valued die into a value of six. Bring out smaller value dice and move them around the “board” to combine with other dice and win the game!
DISCLAIMER: We were provided a review copy of this game for the purposes of this review. These are preview copy components, and I do not know if the final components will be similar or different, or if the Kickstarter campaign will alter or add anything through stretch goals. -T
To setup a game of DiTiC, each player chooses a color of dice and takes all dice into their hand. The tile with “DiTiC START” on it is the, well, starting tile and is placed in the middle of the table. Roll off to see who goes first and you are ready to play!
On a turn a player may draw and place a tile or move one of their dice. Players start with zero dice on the board, so the first few turns will be drawing a tile from the bag and placing it on the board either side face-up. As you can see from the photos the tiles will have different colored (and shaped) corners. It’s when these corners complete an intersection of four tile corners that dice may enter the board. Depending on the color of the intersection’s majority control a die of said majority color comes into play on the value of the number of icons present. That’s a mouthful. So there are four corners to the intersection. If said intersection contains two red, a blue, and a black icon then red will place a die with value of two pips showing on that intersection. These dice may now be moved and combined with like-valued dice (with an exception). If a player has at least one die on the board when initiating this action, they may roll the action die after placement and complete any other actions the die result allows.
When a player decides instead to move, combine, or overtake a die, they simply move the die along the edge of a tile to the next closest intersection. Exception to movement: players can move all dice with a value of one BEFORE any other dice movement, and dice with value of one or two may move in any direction – even diagonally.
To combine/upgrade dice players will need to move one die into the same intersection as an equal-valued die in order to combine into a die of value +1. Example: a four die and a four die combine to make a five die. Exception to combinations: a value one die may combine with a value three die (remember the exception from the previous paragraph?) to create a value four die.
To overtake an opponent’s die, a player simply moves a superior die onto an occupied intersection. Typically, a die of larger value can overtake any die of smaller value. Exceptions: nothing may overtake a four or five, and only a five can overtake a three. Three-value dice seem to be the superheros of DiTiC.
So after many back-and-forth turns of placing tiles and rolling dice or moving/combining/overtaking dice the winner is crowned once they have upgraded any die into a value six die.
Components. Again, this is a prototype version of the game, so I will comment on what I can. I think the game looks very nice, even in this stage of production. The icons on the tiles are clear – and THANK YOU for considering the colorblind gamer community by making each icon different by both color and art style. The dice are your typical d6 (and I do not know if there will be any changes made to these as a result of a successful campaign). The icons on the action die make sense and I really dig the laser-etched wooden design, and I kinda hope that detail makes it into the final product. But I prefer wooden dice to plastic every time. The game also came with a burlap bag to house and conceal the tiles, and coupled with the wooden dice makes a nice little natural organic combo. My only request for the final version of the game? Go crazy with the color scheme. Black, red, white, and blue are great colors, but fling out the purple and the gold and the orange and the aqua. But I’m no designer. It looks great as it is.
So like I said up top, I love abstracts. Surprisingly so. The more I play them the more I love them. And this game definitely adds to my love of the genre. The rules are kinda wacky, and the dice of different values each can do their own thing, and I think that’s really interesting. It’s not simply a game of moving big dice around eating all the little dice. I mean, you CAN do that, but you will not advance your own strategies. But there is an amount of take that in this game, from the action dice to the tile placement to the overtaking of dice, that will really appeal to lots of people. It’s not a big game, but it looks great on the table, and plays really well once you have immersed yourself in the rules. I really believe that the more I play it the more I will fall in love with it. In fact, as I type this I want to go home and play it right now. And that’s a mark of a good, if not great, game, isn’t it?
If you like abstract strategy games and have a little room for this small game in your collection (or better, MAKE some room for it) then you should definitely consider backing it on Kickstarter, or (depending on when you read this) picking it up at your FLGS.
So my original thought was to try to open this preview with a dastardly abstract statement to truly emphasize how theming is irrelevant with some activities. Not quite having done that, DiTiC is an abstract strategy game of “tile placement and dice-pawn” movement. How does it play? Read on.
In DiTiC the winner is the first player to upgrade one of their dice from a smaller-valued die into a value of six. Bring out smaller value dice and move them around the “board” to combine with other dice and win the game!
DISCLAIMER: We were provided a review copy of this game for the purposes of this review. These are preview copy components, and I do not know if the final components will be similar or different, or if the Kickstarter campaign will alter or add anything through stretch goals. -T
To setup a game of DiTiC, each player chooses a color of dice and takes all dice into their hand. The tile with “DiTiC START” on it is the, well, starting tile and is placed in the middle of the table. Roll off to see who goes first and you are ready to play!
On a turn a player may draw and place a tile or move one of their dice. Players start with zero dice on the board, so the first few turns will be drawing a tile from the bag and placing it on the board either side face-up. As you can see from the photos the tiles will have different colored (and shaped) corners. It’s when these corners complete an intersection of four tile corners that dice may enter the board. Depending on the color of the intersection’s majority control a die of said majority color comes into play on the value of the number of icons present. That’s a mouthful. So there are four corners to the intersection. If said intersection contains two red, a blue, and a black icon then red will place a die with value of two pips showing on that intersection. These dice may now be moved and combined with like-valued dice (with an exception). If a player has at least one die on the board when initiating this action, they may roll the action die after placement and complete any other actions the die result allows.
When a player decides instead to move, combine, or overtake a die, they simply move the die along the edge of a tile to the next closest intersection. Exception to movement: players can move all dice with a value of one BEFORE any other dice movement, and dice with value of one or two may move in any direction – even diagonally.
To combine/upgrade dice players will need to move one die into the same intersection as an equal-valued die in order to combine into a die of value +1. Example: a four die and a four die combine to make a five die. Exception to combinations: a value one die may combine with a value three die (remember the exception from the previous paragraph?) to create a value four die.
To overtake an opponent’s die, a player simply moves a superior die onto an occupied intersection. Typically, a die of larger value can overtake any die of smaller value. Exceptions: nothing may overtake a four or five, and only a five can overtake a three. Three-value dice seem to be the superheros of DiTiC.
So after many back-and-forth turns of placing tiles and rolling dice or moving/combining/overtaking dice the winner is crowned once they have upgraded any die into a value six die.
Components. Again, this is a prototype version of the game, so I will comment on what I can. I think the game looks very nice, even in this stage of production. The icons on the tiles are clear – and THANK YOU for considering the colorblind gamer community by making each icon different by both color and art style. The dice are your typical d6 (and I do not know if there will be any changes made to these as a result of a successful campaign). The icons on the action die make sense and I really dig the laser-etched wooden design, and I kinda hope that detail makes it into the final product. But I prefer wooden dice to plastic every time. The game also came with a burlap bag to house and conceal the tiles, and coupled with the wooden dice makes a nice little natural organic combo. My only request for the final version of the game? Go crazy with the color scheme. Black, red, white, and blue are great colors, but fling out the purple and the gold and the orange and the aqua. But I’m no designer. It looks great as it is.
So like I said up top, I love abstracts. Surprisingly so. The more I play them the more I love them. And this game definitely adds to my love of the genre. The rules are kinda wacky, and the dice of different values each can do their own thing, and I think that’s really interesting. It’s not simply a game of moving big dice around eating all the little dice. I mean, you CAN do that, but you will not advance your own strategies. But there is an amount of take that in this game, from the action dice to the tile placement to the overtaking of dice, that will really appeal to lots of people. It’s not a big game, but it looks great on the table, and plays really well once you have immersed yourself in the rules. I really believe that the more I play it the more I will fall in love with it. In fact, as I type this I want to go home and play it right now. And that’s a mark of a good, if not great, game, isn’t it?
If you like abstract strategy games and have a little room for this small game in your collection (or better, MAKE some room for it) then you should definitely consider backing it on Kickstarter, or (depending on when you read this) picking it up at your FLGS.
5 Minute Movie Guy (379 KP) rated Scary Stories to Tell in the Dark (2019) in Movies
Sep 16, 2019
In the early 1980s, author Alvin Schwartz created a book of short horror stories titled Scary Stories to Tell in the Dark that would go on to terrorize a whole generation of curious young readers. Combined with its morbid and ghastly illustrations by artist Stephen Gammell, the book would serve as an introduction to horror for many. Over the next ten years, Schwartz wrote two more books in the Scary Stories series, and now, nearly forty years later, it has finally been adapted into a major motion picture. Produced by Academy Award-winning director Guillermo Del Toro and directed by André Øvredal, the Scary Stories to Tell in the Dark film constructs a new narrative around several of the iconic short stories from the book series, and brings them to life to haunt the movie’s teenage characters.
In Mill Valley, Pennsylvania in 1968, a group of teenage friends fleeing from a band of bullies hide out in an abandoned haunted house on Halloween night. They know the story of this house well, whose folklore is rooted in the origins of their own small town. It was once owned by the wealthy Bellows Family, who according to urban legend, locked away their own daughter, Sarah Bellows, inside the cellar of their home. Sarah had been accused of killing the town’s children, and so her family kept her hidden away and attempted to erase her from existence, even removing her from their own family portraits. According to legend, Sarah wrote a book of horror stories and would read them aloud through the walls of her room to frighten the local townspeople.
While inside this haunted house, our group of protagonists; Stella (Zoe Colletti), Ramón (Michael Garza), Auggie (Gabriel Rush), and Chuck (Austin Zajur), discover the room Sarah had spent her life trapped in. Stella, an amateur horror writer herself, finds the rumored book that was written by Sarah. Upon opening it she sees that a new page is somehow being written in blood right before her very eyes, and it happens to be about the bully that chased them into the house. The next day, they realize that it seems as though the story actually came true, and that the book itself may be haunted. This establishes the basic premise of the film, in which new stories are being written in the book and they appear to be targeting Stella and everyone else that entered the Bellows’ house that night.
It’s an interesting set-up that cleverly mixes horror with mystery, as the characters are not only trying to survive these stories as they come to life, but are also trying to figure out how to stop them from happening. The film features five different stories from the series, most of which come from the third and final book, and a sixth story centered around Stella and Sarah Bellows that is at least in part inspired by one of the original tales. To give an example without giving too much away, one story for instance, involves a haunted scarecrow, whereas another is about a walking corpse in search of its severed big toe. The stories themselves are much more dark and grotesque than I had anticipated. I was expecting something more along the lines of Goosebumps, which was a series of children’s horror books that I personally loved and grew up with as a child, but these are much more disturbing than that. While I only found the first story of the film, “Harold”, to actually be scary, I do imagine this movie might be a little too frightening for some teenagers.
I should clarify that I’m not familiar with the original written source material of Scary Stories to Tell in the Dark, and I had truthfully never even heard of the books prior to the movie’s announcement. I don’t have any personal stake in these stories, but I do admire the thoughtfulness and creativity that went into building the film around them. I thought the film started out really strong with a likable cast of characters, and with most of its best moments featured early on. I loved the introduction to the haunted house and the legend of the Bellows Family. I enjoyed the playful nature of our group of young protagonists, who in the beginning felt reminiscent of the fun and crazy kids you might find in an 80s movie like The Goonies. Additionally, I liked the mystery of Sarah Bellows that the kids were trying to uncover, all the while struggling to survive the dangers of her haunting stories that had come to life.
Unfortunately, as the movie went on, I found myself less and less invested in it with each passing story, all of which I would argue are weaker than the previous one before it. The Pale Lady storyline was particularly dull and underwhelming. The final act itself, although smartly designed with its use of parallels, wound up feeling poorly executed and unsatisfying overall.
Similarly, in regards to the acting, I liked the performances even less by the end as well. Early on I had been impressed with Zoe Colletti as Stella, but I found her to be annoying in the later parts of the movie. The same goes for Austin Zajur as Chuck. The cast for the most part was decent, but everything about the movie began to drop in quality as it dragged on, which is especially unfortunate given how well it starts out.
The special effects are mostly quite good and adequately disturbing, but on the same token, I wish they were more clearly visible at times. A lot of the horror settings take place in dark rooms, so at times it can be hard to see the monsters with much clarity. Still, I love the design of Harold the Scarecrow, as well as The Jangly Man, who is played by contortionist Troy James whose extreme flexibility allows the character to move in unnatural and disturbing looking ways.
To conclude, I’m left with some mixed feelings on Scary Stories to Tell in the Dark. For me, it almost hits the mark, but unfortunately it isn’t a movie that I think I’d bother to watch again. It made a solid first impression with its rich atmosphere and creepy first act, but it failed to maintain its momentum and level of quality. In the end, my favorite thing about the whole movie is actually the excellent cover song of “Season of the Witch” by Lana Del Rey that plays during the credits. However that’s not in any way to say the movie is so bad that the credits were my favorite part. It’s just a great song by an artist I very much enjoy. If you grew up with the Scary Stories to Tell in the Dark series, then by all means, I recommend that you at least check it out. If you like horror and have any troublesome teenaged kids, this may be a perfect opportunity to have some fun scaring the heck out of them.
In Mill Valley, Pennsylvania in 1968, a group of teenage friends fleeing from a band of bullies hide out in an abandoned haunted house on Halloween night. They know the story of this house well, whose folklore is rooted in the origins of their own small town. It was once owned by the wealthy Bellows Family, who according to urban legend, locked away their own daughter, Sarah Bellows, inside the cellar of their home. Sarah had been accused of killing the town’s children, and so her family kept her hidden away and attempted to erase her from existence, even removing her from their own family portraits. According to legend, Sarah wrote a book of horror stories and would read them aloud through the walls of her room to frighten the local townspeople.
While inside this haunted house, our group of protagonists; Stella (Zoe Colletti), Ramón (Michael Garza), Auggie (Gabriel Rush), and Chuck (Austin Zajur), discover the room Sarah had spent her life trapped in. Stella, an amateur horror writer herself, finds the rumored book that was written by Sarah. Upon opening it she sees that a new page is somehow being written in blood right before her very eyes, and it happens to be about the bully that chased them into the house. The next day, they realize that it seems as though the story actually came true, and that the book itself may be haunted. This establishes the basic premise of the film, in which new stories are being written in the book and they appear to be targeting Stella and everyone else that entered the Bellows’ house that night.
It’s an interesting set-up that cleverly mixes horror with mystery, as the characters are not only trying to survive these stories as they come to life, but are also trying to figure out how to stop them from happening. The film features five different stories from the series, most of which come from the third and final book, and a sixth story centered around Stella and Sarah Bellows that is at least in part inspired by one of the original tales. To give an example without giving too much away, one story for instance, involves a haunted scarecrow, whereas another is about a walking corpse in search of its severed big toe. The stories themselves are much more dark and grotesque than I had anticipated. I was expecting something more along the lines of Goosebumps, which was a series of children’s horror books that I personally loved and grew up with as a child, but these are much more disturbing than that. While I only found the first story of the film, “Harold”, to actually be scary, I do imagine this movie might be a little too frightening for some teenagers.
I should clarify that I’m not familiar with the original written source material of Scary Stories to Tell in the Dark, and I had truthfully never even heard of the books prior to the movie’s announcement. I don’t have any personal stake in these stories, but I do admire the thoughtfulness and creativity that went into building the film around them. I thought the film started out really strong with a likable cast of characters, and with most of its best moments featured early on. I loved the introduction to the haunted house and the legend of the Bellows Family. I enjoyed the playful nature of our group of young protagonists, who in the beginning felt reminiscent of the fun and crazy kids you might find in an 80s movie like The Goonies. Additionally, I liked the mystery of Sarah Bellows that the kids were trying to uncover, all the while struggling to survive the dangers of her haunting stories that had come to life.
Unfortunately, as the movie went on, I found myself less and less invested in it with each passing story, all of which I would argue are weaker than the previous one before it. The Pale Lady storyline was particularly dull and underwhelming. The final act itself, although smartly designed with its use of parallels, wound up feeling poorly executed and unsatisfying overall.
Similarly, in regards to the acting, I liked the performances even less by the end as well. Early on I had been impressed with Zoe Colletti as Stella, but I found her to be annoying in the later parts of the movie. The same goes for Austin Zajur as Chuck. The cast for the most part was decent, but everything about the movie began to drop in quality as it dragged on, which is especially unfortunate given how well it starts out.
The special effects are mostly quite good and adequately disturbing, but on the same token, I wish they were more clearly visible at times. A lot of the horror settings take place in dark rooms, so at times it can be hard to see the monsters with much clarity. Still, I love the design of Harold the Scarecrow, as well as The Jangly Man, who is played by contortionist Troy James whose extreme flexibility allows the character to move in unnatural and disturbing looking ways.
To conclude, I’m left with some mixed feelings on Scary Stories to Tell in the Dark. For me, it almost hits the mark, but unfortunately it isn’t a movie that I think I’d bother to watch again. It made a solid first impression with its rich atmosphere and creepy first act, but it failed to maintain its momentum and level of quality. In the end, my favorite thing about the whole movie is actually the excellent cover song of “Season of the Witch” by Lana Del Rey that plays during the credits. However that’s not in any way to say the movie is so bad that the credits were my favorite part. It’s just a great song by an artist I very much enjoy. If you grew up with the Scary Stories to Tell in the Dark series, then by all means, I recommend that you at least check it out. If you like horror and have any troublesome teenaged kids, this may be a perfect opportunity to have some fun scaring the heck out of them.
Daniel Boyd (1066 KP) rated Fantastic Beasts and Where to Find Them (2016) in Movies
Jul 19, 2017
Some of the lighting is well implemented (1 more)
Colin Farrell
Bad CGI (2 more)
The movies 3 leads are extremely annoying
Johnny 'oooh' Depp
Fantastic Beasts and Where To Find Them - Or JK Rowling and the Never Ending Quest for More Money
Contains spoilers, click to show
First off, full disclosure, I have never been a fan of the Harry Potter franchise. I’ve read a few of the books and seen a few of the movies and it just isn’t my thing. Honestly, I’m not even a fan of fantasy in general, I think Lord Of The Rings is nonsense and Game Of Thrones is vastly overrated and the last Harry Potter movie I saw was the fourth one. However, I was willing to go into this movie with a clean slate and hopefully have it win me over and unfortunately it didn’t. Also this review will contain spoilers if you care about that sort of thing.
This film is a prequel to the other Harry Potter movies, this time set in America rather than Britain and telling the story of the events that led to the great wizarding war between Dumbledore and Grindlewald. The film did have potential, to see what would have essentially been WWII fought with magic could be really cool but unfortunately all we get here is setup and that actual event we want to see will probably take place 4 or 5 movies down the line. The film opens with Eddie Redmayne’s character, Newt Scamander going to New York from London to set free one of the beasts that he keeps inside his Tardis-like brief case. Then he ends up in a bank and meets a ‘Nomaj,’ which is this film’s lazy version of a ‘muggle,’ who we learn is a simple lonely guy that just wants to open his own bakery and that’s another character cliché ticked off the list. We now have the double act of the nerdy, sniveling protagonist and the overweight sympathetic sidekick. Also, for the rest of this review I will be referring to the baker character as fat bloke and this isn’t to be derogatory, but is purely because the script relies on the, ‘fat, jolly, sympathetic, pathetic loner’ stereotype and passes it off as a character arc. If the script isn’t treating the character with any respect, then why should I? So fat bloke it is then.
So the two of them of course have the exact same briefcase and after some cartoony looking CGI animals escape from Redmayne’s case in the bank the suitcases predictably get mixed up and then the fat bloke gets his bakery loan declined and returns home with Redmayne’s suitcase, then more bad CGI animals open the case and attack the fat bloke. Redmayne’s character then gets arrested by some wizarding inspector for letting the, ‘Nomaj,’ (urgh) get away after seeing the animals in the case and is taken to the New York Wizards base, I guess? Then it’s revealed that the wizarding inspector that arrested Redmayne is a bit of a shit inspector and she is trying to redeem herself in the eyes of her superiors, so in front of this high wizard council, she confiscates the case from Redmayne and opens it only to reveal a bunch of cakes inside. Yes, really… Who writes this shit? Rowling is doing to Harry Potter what Lucas did to Star Wars during the prequels at this point.
So Redmayne gets set free and he goes to fat bloke’s house to find him lying on the floor, then some more bad CGI later the inspector turns up and they take him back to her house to meet her sister? Friend? Does it matter? She ends up becoming the love interest for fat bloke. Then for no apparent reason Redmayne and fat bloke enter the case and he shows fat bloke all this crazy shit that apparently humans aren’t supposed to see and then Redmayne does some more sniveling and decides they have to sneak out of the girls’ apartment and recapture the animals that escaped in the bank and from fat bloke’s apartment. They get a couple of the beasts back then they go to central park to find Redmayne’s horny rhino and they dress fat bloke up in a leather rhino costume and use him as rape bait then they ice skate for a bit and capture the rhino. Again, really… I am not making this shit up for satirical reasons.
Then we see a real life prick Ezra Miller playing some sort of weird emo child who is beat by his mother and we see he is working with Colin Farrell to find a big bad dark spirit that is killing people around New York. Colin Farrell is definitely the best thing about the film at this point. After this a bunch of other stupid shit happens, like Ron Perlman and John Voight coming into the movie, showing a ray of potential then being totally wasted. The movie drags in the middle, but eventually after some more fat jokes, bad CGI and sniveling, all of the creatures are captured and Ezra Miller turns into a black death cloud or some such nonsense. Then he is boosting around New York, fucking up shit as he goes and so Redmayne and Farrell follow him down to the subway to stop him. Redmayne seems to be talking him down and then Farrell shows up and essentially tells him to join the dark side. Then there is a CGI wand battle and the council from earlier show up out of nowhere and kill the black cloud of death. Then Colin Farrell gets pissed off and in the best scene in the movie murders half of the council members before he gets arrested by Eddie Redmayne with some magic handcuffs.
Then the worst part in the movie takes place. It is revealed that Colin Farrell is actually Johnny Depp in disguise. I mean he is Grindlewald in disguise but the important part for me is the replacement of Colin Farrell with Johnny Depp. Now I’m not the world’s biggest Colin Farrell fan, he is great in, ‘In Bruges,’ but other than that he is pretty meh, but he was definitely the best thing that this movie had going for it and they fucking swapped him out! With fucking Johnny-‘ooh’-Depp. As if this movie wasn’t shit enough they swapped out the best thing about it for Johnny Depp, the biggest joke in Hollywood. I’m done, fuck this movie, fuck Johnny Depp, fuck JK Rowling, fuck Harry Potter, I’m out.
Okay, let’s briefly talk about the technical side of the film before I score this thing. The whole cast of this movie is phoning it in, so the acting is fine but nothing to write home about, Farrell is the best thing in this movie, but I feel that in the sequels it will just be an ‘ooh,’ off between Depp and Redmayne. The direction is okay as the movie plods along sufficiently, but the writing is wildly inconsistent and the plot as stated above is all over the place. The lighting and cinematography in one scene are fantastic, when Farrell and Miller are conversing in a dark alleyway but other than that they are pretty mundane too. The score is suitably Harry Potter like and the CGI is also to a similar standard of the Harry Potter films. The problem with that is that the CGI was ropey and of a fairly poor standard in the Harry Potter movies 10 years ago and it doesn’t seem like it has improved much since then. This movie isn’t for me, but even from an objective standpoint, based solely from a moviemaking perspective this movie is poor.
This film is a prequel to the other Harry Potter movies, this time set in America rather than Britain and telling the story of the events that led to the great wizarding war between Dumbledore and Grindlewald. The film did have potential, to see what would have essentially been WWII fought with magic could be really cool but unfortunately all we get here is setup and that actual event we want to see will probably take place 4 or 5 movies down the line. The film opens with Eddie Redmayne’s character, Newt Scamander going to New York from London to set free one of the beasts that he keeps inside his Tardis-like brief case. Then he ends up in a bank and meets a ‘Nomaj,’ which is this film’s lazy version of a ‘muggle,’ who we learn is a simple lonely guy that just wants to open his own bakery and that’s another character cliché ticked off the list. We now have the double act of the nerdy, sniveling protagonist and the overweight sympathetic sidekick. Also, for the rest of this review I will be referring to the baker character as fat bloke and this isn’t to be derogatory, but is purely because the script relies on the, ‘fat, jolly, sympathetic, pathetic loner’ stereotype and passes it off as a character arc. If the script isn’t treating the character with any respect, then why should I? So fat bloke it is then.
So the two of them of course have the exact same briefcase and after some cartoony looking CGI animals escape from Redmayne’s case in the bank the suitcases predictably get mixed up and then the fat bloke gets his bakery loan declined and returns home with Redmayne’s suitcase, then more bad CGI animals open the case and attack the fat bloke. Redmayne’s character then gets arrested by some wizarding inspector for letting the, ‘Nomaj,’ (urgh) get away after seeing the animals in the case and is taken to the New York Wizards base, I guess? Then it’s revealed that the wizarding inspector that arrested Redmayne is a bit of a shit inspector and she is trying to redeem herself in the eyes of her superiors, so in front of this high wizard council, she confiscates the case from Redmayne and opens it only to reveal a bunch of cakes inside. Yes, really… Who writes this shit? Rowling is doing to Harry Potter what Lucas did to Star Wars during the prequels at this point.
So Redmayne gets set free and he goes to fat bloke’s house to find him lying on the floor, then some more bad CGI later the inspector turns up and they take him back to her house to meet her sister? Friend? Does it matter? She ends up becoming the love interest for fat bloke. Then for no apparent reason Redmayne and fat bloke enter the case and he shows fat bloke all this crazy shit that apparently humans aren’t supposed to see and then Redmayne does some more sniveling and decides they have to sneak out of the girls’ apartment and recapture the animals that escaped in the bank and from fat bloke’s apartment. They get a couple of the beasts back then they go to central park to find Redmayne’s horny rhino and they dress fat bloke up in a leather rhino costume and use him as rape bait then they ice skate for a bit and capture the rhino. Again, really… I am not making this shit up for satirical reasons.
Then we see a real life prick Ezra Miller playing some sort of weird emo child who is beat by his mother and we see he is working with Colin Farrell to find a big bad dark spirit that is killing people around New York. Colin Farrell is definitely the best thing about the film at this point. After this a bunch of other stupid shit happens, like Ron Perlman and John Voight coming into the movie, showing a ray of potential then being totally wasted. The movie drags in the middle, but eventually after some more fat jokes, bad CGI and sniveling, all of the creatures are captured and Ezra Miller turns into a black death cloud or some such nonsense. Then he is boosting around New York, fucking up shit as he goes and so Redmayne and Farrell follow him down to the subway to stop him. Redmayne seems to be talking him down and then Farrell shows up and essentially tells him to join the dark side. Then there is a CGI wand battle and the council from earlier show up out of nowhere and kill the black cloud of death. Then Colin Farrell gets pissed off and in the best scene in the movie murders half of the council members before he gets arrested by Eddie Redmayne with some magic handcuffs.
Then the worst part in the movie takes place. It is revealed that Colin Farrell is actually Johnny Depp in disguise. I mean he is Grindlewald in disguise but the important part for me is the replacement of Colin Farrell with Johnny Depp. Now I’m not the world’s biggest Colin Farrell fan, he is great in, ‘In Bruges,’ but other than that he is pretty meh, but he was definitely the best thing that this movie had going for it and they fucking swapped him out! With fucking Johnny-‘ooh’-Depp. As if this movie wasn’t shit enough they swapped out the best thing about it for Johnny Depp, the biggest joke in Hollywood. I’m done, fuck this movie, fuck Johnny Depp, fuck JK Rowling, fuck Harry Potter, I’m out.
Okay, let’s briefly talk about the technical side of the film before I score this thing. The whole cast of this movie is phoning it in, so the acting is fine but nothing to write home about, Farrell is the best thing in this movie, but I feel that in the sequels it will just be an ‘ooh,’ off between Depp and Redmayne. The direction is okay as the movie plods along sufficiently, but the writing is wildly inconsistent and the plot as stated above is all over the place. The lighting and cinematography in one scene are fantastic, when Farrell and Miller are conversing in a dark alleyway but other than that they are pretty mundane too. The score is suitably Harry Potter like and the CGI is also to a similar standard of the Harry Potter films. The problem with that is that the CGI was ropey and of a fairly poor standard in the Harry Potter movies 10 years ago and it doesn’t seem like it has improved much since then. This movie isn’t for me, but even from an objective standpoint, based solely from a moviemaking perspective this movie is poor.
graveyardgremlin (7194 KP) rated The Taken (Celestial Blues, #1) in Books
Feb 15, 2019
Even though I'm not especially fond of angels, I decided to try out this new series based on my previous experiences with Vicki Pettersson's work. Sadly, after an intriguing first chapter, any enjoyment I may have expected never came knocking (guess it was too busy knockin' on heaven's door).
Meet one of the two main characters, rockabilly girl Katherine "Kit" Craig. She's an eternally optimistic and peppy reporter whose best friend and co-worker, Nicole, was just murdered while following a lead. Our other MC is a haunted Centurion angel named Griffin Shaw who ushers the newly murdered into the afterlife, otherwise known as the Everlast, while bemoaning the murders of both himself and his wife Evie back in 1960. After making a mistake concerning Nicole, he's been sent back to earth as a human with some angelic senses still intact. Kit and Grif soon meet up and begin investigating the circumstances around Nicole's death, whilst Griffin seeks out any details involving his own.
Problem Number One:
The Cardboard Characters
Character development is supposed to unfold over the course of a book, in this case it actually appeared to deteriorate as the book went on. Kit never developed into anything but one of those annoyingly chipper people you just want to hit with a sledgehammer, while Grif started promisingly enough but then stagnated. They were both very shallow characterizations, and on top of that, I never understood Kit's actions or reactions to just about anything. I never felt her sadness about her best friend's death, whom she rarely gave a passing thought, believed she was smart (by the end, I thought her a dolt), or seem in any way human with nary a rational thought in her head. About mid-way through the book, Grif tells her he's an angel after they kiss, so what does she do? Does she a) run away screaming, b) think he's a few feathers short of a goose and tell him to get hell out of her house and life, or c) have a calm Q&A session followed by giving him a whatfor that consists of "I won't kiss you again" and "you're watching me walk out that door (in her own house) because you can't handle any emotion blah, blah, blah by pretending you're an angel" and then proceed to attend a charity event wherein she acts and converses normally, like nothing happened? If you picked "c" *ding ding ding*, you're a winner! Because as we all know, any sensible guy will pull out the "I'm an angel" trick and expect a woman to believe him. *rolls eyes* Never was it ever crystal clear if Kit thought Grif was either crazy or a liar. It was all a bit hazy, but what can you expect from someone we're never allowed to know? All we discern is she dresses and lives (somewhat) rockabilly, but it's all a veneer to her hollowness inside, which led me to dub her Rockabilly Barbie.
<img src="http://i272.photobucket.com/albums/jj183/piscesrain/reviews/RockabillyBarbie.jpg">;
Because that's all she is and nothing more. The only character that I found a little more well-rounded was the secondary character Bridget Moore and the two Centurions introduced close to the end. Everyone else was either forgettably two-dimensional or they were a caricature, a la Caleb Chambers and Paul Raggio.
Problem Number Two:
The Relationship(s)
I'm expected to believe in a possible relationship between Grif and Rockabilly Barbie, err I mean Kit, but there's not much there to believe in. Like the characters, it was shallow with the same descriptions reiterated over and over again. Basically it's a case of telling instead of showing. I felt no love, maybe some attraction, but that's all she wrote. Likewise I never bought that Kit and Paul could ever have gotten far enough to be married, they were just too different. Most people don't do a 180 after they get married, the seed of who Paul really was deep down inside would have already been there and if Kit was even a fraction astute, she should have caught that. All this served was to be a plot point in the book.
Problem Number Three:
The Plot(s)
The main plot involving Nicole's death and Chambers had a "been there, done that" quality to it. The plot didn't shock me or seem like anything new, I've come across the same before or at least plots that were very close, and it wasn't even told in a fresh way. So I wasn't as affected by anything in the book as I probably should have been, partially due to the indifference I felt and the fact that I figured out everything long before the author dropped, what I guess she thought, were informational bombshells.
The book had three major plotlines: Grif and Evie's deaths, Nicole's death/prostitution ring, and Grif and the Pure Anas' philosophical moments. They weren't juggled well at all. Ms. Pettersson should have picked only one and paid more attention to developing that specific plot and the characters. The scenes with Anas (or Anne) especially didn't mesh with the other stories and felt as if the author was overreaching the boundaries set up by the book. One scene in particular was extremely bizarre and pointless to the book as a whole.
Where was the noir? I've seen enough film noirs to know it ain't here.
Problem Number Four:
The Ending
What happened at the end is what I'd expect in a book that's exclusively romance and not in a mystery/urban fantasy hybrid, which made the rushed ending seem even more ridiculous and sappy. It was incredibly unbelievable to the story and didn't seem to set up the next book in any way. Also, one of the plotlines was all but left dangling with no foreshadowing or anything. Poor, poor, poor execution. Don't expound on a storyline if you're not going to finish it up or at least leave it dangling in a way that makes the reader want to come back. All that boring set-up for a completely stupid and cheesy ending. I expected rainbows and unicorns to pop out at any moment.
Overall the book felt more like a rough copy than a finished one and definitely could have used a few more goings over. Several descriptions were rushed and chaotic or simply poorly done so that I was scrambling to picture what was going on. The book is almost 400 pages and it is simply too long. With so many storylines, I'm not sure how they managed to both crawl and have very little action at the same time. I was going to give this two stars because I didn't hate the book, that would imply that it elicited any feelings what-so-ever, but the truth of the matter is that there isn't one thing I really liked about the book either. The only way I'd read a sequel to the bafflingly-named Celestial Blues series is if it featured different leads like the aforementioned Centurions, and even then I'd cautiously dip my toes into the book.
Originally reviewed: June 29
Received: Amazon Vine
Meet one of the two main characters, rockabilly girl Katherine "Kit" Craig. She's an eternally optimistic and peppy reporter whose best friend and co-worker, Nicole, was just murdered while following a lead. Our other MC is a haunted Centurion angel named Griffin Shaw who ushers the newly murdered into the afterlife, otherwise known as the Everlast, while bemoaning the murders of both himself and his wife Evie back in 1960. After making a mistake concerning Nicole, he's been sent back to earth as a human with some angelic senses still intact. Kit and Grif soon meet up and begin investigating the circumstances around Nicole's death, whilst Griffin seeks out any details involving his own.
Problem Number One:
The Cardboard Characters
Character development is supposed to unfold over the course of a book, in this case it actually appeared to deteriorate as the book went on. Kit never developed into anything but one of those annoyingly chipper people you just want to hit with a sledgehammer, while Grif started promisingly enough but then stagnated. They were both very shallow characterizations, and on top of that, I never understood Kit's actions or reactions to just about anything. I never felt her sadness about her best friend's death, whom she rarely gave a passing thought, believed she was smart (by the end, I thought her a dolt), or seem in any way human with nary a rational thought in her head. About mid-way through the book, Grif tells her he's an angel after they kiss, so what does she do? Does she a) run away screaming, b) think he's a few feathers short of a goose and tell him to get hell out of her house and life, or c) have a calm Q&A session followed by giving him a whatfor that consists of "I won't kiss you again" and "you're watching me walk out that door (in her own house) because you can't handle any emotion blah, blah, blah by pretending you're an angel" and then proceed to attend a charity event wherein she acts and converses normally, like nothing happened? If you picked "c" *ding ding ding*, you're a winner! Because as we all know, any sensible guy will pull out the "I'm an angel" trick and expect a woman to believe him. *rolls eyes* Never was it ever crystal clear if Kit thought Grif was either crazy or a liar. It was all a bit hazy, but what can you expect from someone we're never allowed to know? All we discern is she dresses and lives (somewhat) rockabilly, but it's all a veneer to her hollowness inside, which led me to dub her Rockabilly Barbie.
<img src="http://i272.photobucket.com/albums/jj183/piscesrain/reviews/RockabillyBarbie.jpg">;
Because that's all she is and nothing more. The only character that I found a little more well-rounded was the secondary character Bridget Moore and the two Centurions introduced close to the end. Everyone else was either forgettably two-dimensional or they were a caricature, a la Caleb Chambers and Paul Raggio.
Problem Number Two:
The Relationship(s)
I'm expected to believe in a possible relationship between Grif and Rockabilly Barbie, err I mean Kit, but there's not much there to believe in. Like the characters, it was shallow with the same descriptions reiterated over and over again. Basically it's a case of telling instead of showing. I felt no love, maybe some attraction, but that's all she wrote. Likewise I never bought that Kit and Paul could ever have gotten far enough to be married, they were just too different. Most people don't do a 180 after they get married, the seed of who Paul really was deep down inside would have already been there and if Kit was even a fraction astute, she should have caught that. All this served was to be a plot point in the book.
Problem Number Three:
The Plot(s)
The main plot involving Nicole's death and Chambers had a "been there, done that" quality to it. The plot didn't shock me or seem like anything new, I've come across the same before or at least plots that were very close, and it wasn't even told in a fresh way. So I wasn't as affected by anything in the book as I probably should have been, partially due to the indifference I felt and the fact that I figured out everything long before the author dropped, what I guess she thought, were informational bombshells.
The book had three major plotlines: Grif and Evie's deaths, Nicole's death/prostitution ring, and Grif and the Pure Anas' philosophical moments. They weren't juggled well at all. Ms. Pettersson should have picked only one and paid more attention to developing that specific plot and the characters. The scenes with Anas (or Anne) especially didn't mesh with the other stories and felt as if the author was overreaching the boundaries set up by the book. One scene in particular was extremely bizarre and pointless to the book as a whole.
Where was the noir? I've seen enough film noirs to know it ain't here.
Problem Number Four:
The Ending
What happened at the end is what I'd expect in a book that's exclusively romance and not in a mystery/urban fantasy hybrid, which made the rushed ending seem even more ridiculous and sappy. It was incredibly unbelievable to the story and didn't seem to set up the next book in any way. Also, one of the plotlines was all but left dangling with no foreshadowing or anything. Poor, poor, poor execution. Don't expound on a storyline if you're not going to finish it up or at least leave it dangling in a way that makes the reader want to come back. All that boring set-up for a completely stupid and cheesy ending. I expected rainbows and unicorns to pop out at any moment.
Overall the book felt more like a rough copy than a finished one and definitely could have used a few more goings over. Several descriptions were rushed and chaotic or simply poorly done so that I was scrambling to picture what was going on. The book is almost 400 pages and it is simply too long. With so many storylines, I'm not sure how they managed to both crawl and have very little action at the same time. I was going to give this two stars because I didn't hate the book, that would imply that it elicited any feelings what-so-ever, but the truth of the matter is that there isn't one thing I really liked about the book either. The only way I'd read a sequel to the bafflingly-named Celestial Blues series is if it featured different leads like the aforementioned Centurions, and even then I'd cautiously dip my toes into the book.
Originally reviewed: June 29
Received: Amazon Vine
Purple Phoenix Games (2266 KP) rated Christmas Lights in Tabletop Games
Dec 29, 2020
A Christmas game? Me?? I have never really been super into Christmastime. My wife (and kids obvs) are mega Christmas fiends, and I am trying to get more into the spirit all the time. So when a call for reviewers went out for this one, I wanted to give it a shot especially now during mid-December. For my wife, of course. Certainly not for me… Certainly not for me.
Christmas Lights is a card game for two to six players that has each player attempting to organize their tangle of light strands into some sort of order. However, as the lights aren’t yet on players are working in the dark. Therefore players cannot see the lights they are untangling and will need help from other players along the way.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup a game shuffle and place out the Event, Pattern, and Bulb card decks into their piles. Deal each player five Bulb cards face-down and two Pattern cards. Each player will also be given a random Character card and player aid card. Whomever is dealt the Santa character will be the first player. The players will consult their Pattern cards and choose one to begin working on initially. The game is now ready to begin!
On a turn a player has the opportunity to take four different actions, in their specific order: Play, Swap, Sale, and Refill. To Play one or more cards, simply choose it/them from hand and place it/them down to begin or continue the strand pictured on the first Pattern card in exact sequence order. Should a player wish to Swap cards with another player, they simply take the swap card from their hand and grab whichever card they please from an opponent’s hand to be placed in their own. Next the player may offer a card from their hand to be sold to other players during the Sale phase. Should another player wish to purchase the card, they spend not money but information to the seller. This information comes in the form of answers to yes/no questions about cards in the active player’s hand. Wait, why, you ask? Because player hands in this game are played facing away from the player, exactly like are played in Hanabi. That’s right, players do not see the cards in their own hands, but rather every other player’s hand. Once some or all of these phases have been played, the active player will need to Refill their hand back up to five cards. It is now the next player’s turn.
Each of these steps will need to be taken in order. Should a player not wish to Swap, for example, they may not hold a Sale and then decide to Swap afterward.
Some Bulb cards are special. These include the Broken Bulb, the Bubble Bulb, and the Plug. A player may place a Broken Bulb anywhere in their strand sequence as a temporary placeholder, but it will need to be covered up by the correctly-colored Bulb card in the future before the player is able to score the strand. The Bubble Bulb is essentially a Wild Bulb and can be played in place of any colored Bulb. However, once played it will remind the player to draw and play an Event card immediately. These Event cards may be either good or bad for the active player, so there is risk in playing the wild Bubble Bulbs. Once the first strand is completed per the appropriate Pattern card, the player will need to play a Plug card in order to connect their first strand to their next. Then the player will be able to begin work on their second strand.
Play continues in this fashion of blind play and deduction of held cards until one player successfully completes both of their Pattern cards. Every player will be able to take the same amount of turns, and if there is a tie between players the used Broken and Bubble Bulb cards will be taken into consideration to determine the winner.
Components. This is a card game. There are a lot of cards. The cards are all great quality, and though I have seen reports of flimsy stock or even see-through quality thickness, I have not had this issue (though I believe I have the second edition of the game, so that might be a difference existing between the editions). The art on the cards is very cute and endearing. Each color of bulb is also a different shape so our colorblind friends should have an easier time playing as well. Each card is laid out well and I have no complaints about components at all.
The gameplay is such that I believe players will either love or hate. Not being able to see the cards in your hand can certainly be stressful and frustrating, but it is a very light card game. Get over it. Again, if you have played Hanabi before, you know the feeling. But it changes the game so drastically when you have to remember what’s in your hand at all times, and when players are swapping with you left and right it is definitely easy to forget what’s going on in your hand. Not that I ever had that problem… Okay, it happens all the time, but I just laugh it off.
I do love this little game and am so happy I took a chance on it. Though I am still learning to love Christmas (Halloween is my jam), this game has a ton going for it. In addition to the game I have loosely described in this review Christmas Lights comes with a booklet that has rule sets for 12 different games that can be played with the included components. TWELVE EXTRA GAME MODES. That’s crazy! So when purchasing Christmas Lights people are actually purchasing 13 games in one box, with two of those modes being for Solo players. The variety and replayability here is off the charts and I am excited to play through the other game modes as soon as I can, and I know my wife will be into as well.
That said, having a Christmas-themed game that delights my wife and I equally is certainly something that I can easily recommend. Purple Phoenix Games gives this one a cheery 10 / 12 for its portability, variability, cute art, and great game play. If you see it in stores, pick up a copy. I am going out on a limb and saying that you could even play this game when it’s NOT Christmastime and still have a great experience with it. If you are looking for something a little different and like Hanabi but wish for something else, give Christmas Lights a shot. Hopefully you will find it as charming as we both do. Oh, and a little pro tip: pour yourself a mug of chai and grab a gingerbread cookie whilst playing. Not necessary, but it certainly works for us. Happy Holidays, ALL holidays, everyone!
Christmas Lights is a card game for two to six players that has each player attempting to organize their tangle of light strands into some sort of order. However, as the lights aren’t yet on players are working in the dark. Therefore players cannot see the lights they are untangling and will need help from other players along the way.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup a game shuffle and place out the Event, Pattern, and Bulb card decks into their piles. Deal each player five Bulb cards face-down and two Pattern cards. Each player will also be given a random Character card and player aid card. Whomever is dealt the Santa character will be the first player. The players will consult their Pattern cards and choose one to begin working on initially. The game is now ready to begin!
On a turn a player has the opportunity to take four different actions, in their specific order: Play, Swap, Sale, and Refill. To Play one or more cards, simply choose it/them from hand and place it/them down to begin or continue the strand pictured on the first Pattern card in exact sequence order. Should a player wish to Swap cards with another player, they simply take the swap card from their hand and grab whichever card they please from an opponent’s hand to be placed in their own. Next the player may offer a card from their hand to be sold to other players during the Sale phase. Should another player wish to purchase the card, they spend not money but information to the seller. This information comes in the form of answers to yes/no questions about cards in the active player’s hand. Wait, why, you ask? Because player hands in this game are played facing away from the player, exactly like are played in Hanabi. That’s right, players do not see the cards in their own hands, but rather every other player’s hand. Once some or all of these phases have been played, the active player will need to Refill their hand back up to five cards. It is now the next player’s turn.
Each of these steps will need to be taken in order. Should a player not wish to Swap, for example, they may not hold a Sale and then decide to Swap afterward.
Some Bulb cards are special. These include the Broken Bulb, the Bubble Bulb, and the Plug. A player may place a Broken Bulb anywhere in their strand sequence as a temporary placeholder, but it will need to be covered up by the correctly-colored Bulb card in the future before the player is able to score the strand. The Bubble Bulb is essentially a Wild Bulb and can be played in place of any colored Bulb. However, once played it will remind the player to draw and play an Event card immediately. These Event cards may be either good or bad for the active player, so there is risk in playing the wild Bubble Bulbs. Once the first strand is completed per the appropriate Pattern card, the player will need to play a Plug card in order to connect their first strand to their next. Then the player will be able to begin work on their second strand.
Play continues in this fashion of blind play and deduction of held cards until one player successfully completes both of their Pattern cards. Every player will be able to take the same amount of turns, and if there is a tie between players the used Broken and Bubble Bulb cards will be taken into consideration to determine the winner.
Components. This is a card game. There are a lot of cards. The cards are all great quality, and though I have seen reports of flimsy stock or even see-through quality thickness, I have not had this issue (though I believe I have the second edition of the game, so that might be a difference existing between the editions). The art on the cards is very cute and endearing. Each color of bulb is also a different shape so our colorblind friends should have an easier time playing as well. Each card is laid out well and I have no complaints about components at all.
The gameplay is such that I believe players will either love or hate. Not being able to see the cards in your hand can certainly be stressful and frustrating, but it is a very light card game. Get over it. Again, if you have played Hanabi before, you know the feeling. But it changes the game so drastically when you have to remember what’s in your hand at all times, and when players are swapping with you left and right it is definitely easy to forget what’s going on in your hand. Not that I ever had that problem… Okay, it happens all the time, but I just laugh it off.
I do love this little game and am so happy I took a chance on it. Though I am still learning to love Christmas (Halloween is my jam), this game has a ton going for it. In addition to the game I have loosely described in this review Christmas Lights comes with a booklet that has rule sets for 12 different games that can be played with the included components. TWELVE EXTRA GAME MODES. That’s crazy! So when purchasing Christmas Lights people are actually purchasing 13 games in one box, with two of those modes being for Solo players. The variety and replayability here is off the charts and I am excited to play through the other game modes as soon as I can, and I know my wife will be into as well.
That said, having a Christmas-themed game that delights my wife and I equally is certainly something that I can easily recommend. Purple Phoenix Games gives this one a cheery 10 / 12 for its portability, variability, cute art, and great game play. If you see it in stores, pick up a copy. I am going out on a limb and saying that you could even play this game when it’s NOT Christmastime and still have a great experience with it. If you are looking for something a little different and like Hanabi but wish for something else, give Christmas Lights a shot. Hopefully you will find it as charming as we both do. Oh, and a little pro tip: pour yourself a mug of chai and grab a gingerbread cookie whilst playing. Not necessary, but it certainly works for us. Happy Holidays, ALL holidays, everyone!
Purple Phoenix Games (2266 KP) rated Xenohunters in Tabletop Games
Mar 22, 2021
What do you find absolutely terrifying? A great many things are on my list, and one of them happens to be the main theme for Xenohunters – heroes attempting to blow up a space station that has been overrun by hostile alien threats, but said aliens are adept at sneaking and can rise up just before you and deliver a deadly blow. I know I can’t be the only one shuddering at THAT thought. So when my friends over at Half-Monster Games contacted me about previewing their new game I knew I was in for one crazy ride.
In Xenohunters one player will act as the main alien force while the other players will divvy up the four hunter characters to oppose. The alien wins when the human threat is eliminated and the humans win once the alien threat is eliminated or once the space station has been blown up with a bomb and at least one human survivor leaving on the spaceship. Tensions run high and every being is on high alert. So let’s get into this! Pre-disclaimer: as this game has many delicate rules I will be giving a high-level overview of gameplay and more opinion on my plays at the end.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Kickstarter campaign, or through any retailers stocking it after fulfillment. -T
To setup consult the rules until the table looks similar to what is shown below. Beware: this game does take up quite a bit of table real estate to plan accordingly and use “the big table.”
Xenohunters is played in rounds until one side has achieved their win condition, as explained above. The aliens, or “Xenos,” will take their turns first, and then the human squad is able to take theirs. Xenohunters offers a loose turn structure in that each character is allowed two or three actions to take, but the actions and the characters on each side may take turns and actions however they wish in any order they wish. So the Xenos could move Alien 1 (not the name given in the game), then activate something with Alien 2, and then two more actions with Alien 1 before Alien 2 completes their turn. And same goes for the human squad.
Much of the game revolves around movement within the space station, either visible or hidden. Players are able to use abilities, gain special cards, hatch alien eggs, move through the vents, block doorways, and bomb individual rooms on the path to victory. Once a human player is attacked and killed, they immediately switch sides and can be respawned as a Hybrid Spawn that belongs to the Xeno team. The remaining human players are now at a disadvantage toward satisfying their victory condition and have another alien hunting them down.
Play continues in this loose turn fashion until one side can claim victory and the game ends.
Components. Again, this is a rough prototype printed and assembled in house at Half-Monster Games, so it is possible that many of the components will look very different when finalized. That said, I truly enjoy the art style featured on many components, and though the game tone is very dark and brooding (not typically my style), the majority of component choices are well done and well suited for this style. I wish I could see a finalized version to truly comment on, but from what I was provided I believe the game will look amazing once complete.
Gameplay. This is where I wanted to spend most of my preview. This game reminds me of a cross between Escape from the Aliens in Outer Space, the wildly-popular (right? I don’t play it so I don’t really know) Among Us digital game, and most tabletop RPGs on the market. I make these comps because in the former, all movement is hidden until something bad happens. Here in Xenohunters movement is hybrid hidden and visible, but players should try to remain hidden as much as possible. The first game played did not value hidden movement as much and the Xenos won rather quickly by just barreling through the space station and unleashing hellish damage on the humans. In Among Us only the Impostor can travel through vents (right?) and here in Xenohunters only the aliens are able to use the vents initally; the humans will need a special item card in order to use the vents, and even then it is only one time.
Once a player meets on the same space as another player from the opposing team combat can begin. I comped RPGs as well, and combat in Xenohunters utilizes an Aim value that is like an AC of an opponent in that the die roll will need to meet or exceed the Aim value for the attacker or else no damage is dealt. Each Xeno and human has their own stats for Aim, Health, Carry, and Speed, which are all self-explanatory. Humans can use an action to Rummage at certain map locations in order to gain cards that are beneficial in combat, movement, additional actions, and even the coveted Bomb and Detonator cards. In this fashion I see influences from RPGs in Xenohunters.
So what do I think about the game? Well, I have never been great at hidden movement games, and while this one is not solely reliant on that one mechanic I am still bad at it. This does not at all diminish my enjoyment of the game, and I do quite like it. Xenohunters uses mechanics from other great games and employs them pretty well. Yes, the rules are always being improved, even from this point (I am using Rules v.0.9.6), but once this is complete I feel it will be an excellent game to have in one’s collection. I personally have zero games utilizing hidden movement mechanics, so this will certainly fill a niche in my collection that I have neglected.
I love the theme and premise of the game, and it seems ripe for expansions. I can see many new human characters that can be added, more maps and scenarios, and even more big bads being thrown in to increase the difficulty. I have no idea if these are planned at all, but Xenohunters is laying the groundwork for a bevvy of expansions that can be added. The artwork is great (though not final on all pieces), and I know Half-Monster Games is going to give it special treatment to make it really pop.
I am very much looking forward to monitoring the Kickstarter campaign for this one as I think it is an excellent concept and brings horror to the table without being overly graphic and gory. I will not be playing this with my son any time soon (he is four), but when he is old enough I will definitely be introducing him to Xenohunters. While I am not great at this game, I very much look forward to playing lots more and practicing my strategies so I can one day challenge Jack (the designer) at a convention… whenever those happen again.
In Xenohunters one player will act as the main alien force while the other players will divvy up the four hunter characters to oppose. The alien wins when the human threat is eliminated and the humans win once the alien threat is eliminated or once the space station has been blown up with a bomb and at least one human survivor leaving on the spaceship. Tensions run high and every being is on high alert. So let’s get into this! Pre-disclaimer: as this game has many delicate rules I will be giving a high-level overview of gameplay and more opinion on my plays at the end.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Kickstarter campaign, or through any retailers stocking it after fulfillment. -T
To setup consult the rules until the table looks similar to what is shown below. Beware: this game does take up quite a bit of table real estate to plan accordingly and use “the big table.”
Xenohunters is played in rounds until one side has achieved their win condition, as explained above. The aliens, or “Xenos,” will take their turns first, and then the human squad is able to take theirs. Xenohunters offers a loose turn structure in that each character is allowed two or three actions to take, but the actions and the characters on each side may take turns and actions however they wish in any order they wish. So the Xenos could move Alien 1 (not the name given in the game), then activate something with Alien 2, and then two more actions with Alien 1 before Alien 2 completes their turn. And same goes for the human squad.
Much of the game revolves around movement within the space station, either visible or hidden. Players are able to use abilities, gain special cards, hatch alien eggs, move through the vents, block doorways, and bomb individual rooms on the path to victory. Once a human player is attacked and killed, they immediately switch sides and can be respawned as a Hybrid Spawn that belongs to the Xeno team. The remaining human players are now at a disadvantage toward satisfying their victory condition and have another alien hunting them down.
Play continues in this loose turn fashion until one side can claim victory and the game ends.
Components. Again, this is a rough prototype printed and assembled in house at Half-Monster Games, so it is possible that many of the components will look very different when finalized. That said, I truly enjoy the art style featured on many components, and though the game tone is very dark and brooding (not typically my style), the majority of component choices are well done and well suited for this style. I wish I could see a finalized version to truly comment on, but from what I was provided I believe the game will look amazing once complete.
Gameplay. This is where I wanted to spend most of my preview. This game reminds me of a cross between Escape from the Aliens in Outer Space, the wildly-popular (right? I don’t play it so I don’t really know) Among Us digital game, and most tabletop RPGs on the market. I make these comps because in the former, all movement is hidden until something bad happens. Here in Xenohunters movement is hybrid hidden and visible, but players should try to remain hidden as much as possible. The first game played did not value hidden movement as much and the Xenos won rather quickly by just barreling through the space station and unleashing hellish damage on the humans. In Among Us only the Impostor can travel through vents (right?) and here in Xenohunters only the aliens are able to use the vents initally; the humans will need a special item card in order to use the vents, and even then it is only one time.
Once a player meets on the same space as another player from the opposing team combat can begin. I comped RPGs as well, and combat in Xenohunters utilizes an Aim value that is like an AC of an opponent in that the die roll will need to meet or exceed the Aim value for the attacker or else no damage is dealt. Each Xeno and human has their own stats for Aim, Health, Carry, and Speed, which are all self-explanatory. Humans can use an action to Rummage at certain map locations in order to gain cards that are beneficial in combat, movement, additional actions, and even the coveted Bomb and Detonator cards. In this fashion I see influences from RPGs in Xenohunters.
So what do I think about the game? Well, I have never been great at hidden movement games, and while this one is not solely reliant on that one mechanic I am still bad at it. This does not at all diminish my enjoyment of the game, and I do quite like it. Xenohunters uses mechanics from other great games and employs them pretty well. Yes, the rules are always being improved, even from this point (I am using Rules v.0.9.6), but once this is complete I feel it will be an excellent game to have in one’s collection. I personally have zero games utilizing hidden movement mechanics, so this will certainly fill a niche in my collection that I have neglected.
I love the theme and premise of the game, and it seems ripe for expansions. I can see many new human characters that can be added, more maps and scenarios, and even more big bads being thrown in to increase the difficulty. I have no idea if these are planned at all, but Xenohunters is laying the groundwork for a bevvy of expansions that can be added. The artwork is great (though not final on all pieces), and I know Half-Monster Games is going to give it special treatment to make it really pop.
I am very much looking forward to monitoring the Kickstarter campaign for this one as I think it is an excellent concept and brings horror to the table without being overly graphic and gory. I will not be playing this with my son any time soon (he is four), but when he is old enough I will definitely be introducing him to Xenohunters. While I am not great at this game, I very much look forward to playing lots more and practicing my strategies so I can one day challenge Jack (the designer) at a convention… whenever those happen again.
Hadley (567 KP) rated Beautiful Creatures (Caster Chronicles, #1) in Books
Sep 3, 2019
Great story (1 more)
Witches and supernatural beings!
A lot of inconsistencies (1 more)
Bad writing
Given the great success of the 'Harry Potter' series, witchcraft has become a prevalent theme in most books written in the last decade. 'Beautiful Creatures' may not have a wizard school, but they do have the old town of Gatlin, South Carolina.
'Beautiful Creatures,' is a witchy novel series by Kami Garcia and Margaret Stohl, that brings the family of witches (among other supernatural creatures) to life: focusing on the niece, Lena, who just came to town to live with her shut-in uncle, Macon. Readers soon find out that Lena belongs to one of the oldest families in the Southern town of Gatlin.
Yet, the main character of this book isn't Lena, but a young man named Ethan Wate; a long time resident of Gatlin who attends the local high school. When we meet Ethan, we find out that he has been having dreams of a girl and a song for some time before Lena showed up, but when he overhears Lena playing the exact same song from his dream, he's sure it's her he's dreaming of.
Suddenly, the two, are able to communicate telepathically. This part is written in a way that is not believable for the reader because Ethan has been feeling that he is going crazy up until this point: hearing the song being played by Lena caused him to flee the school, as with some other things (not to give away too much), but when he can suddenly speak to Lena telepathically, it's as if this is completely normal to him. A more believable part would have had Ethan freaking out as he did before, maybe even more so.
The story takes a dramatic turn when Ethan finds an old locket out in a garden beside Macon's house. He and Lena are quickly transported to visions of a past event that happened nearby involving that very locket. For most of the book, the two are trying to find out more about this locket and who it belonged to. Each time Ethan and Lena touch the locket together, they are transported to another event in the same vision. They soon find out that the locket belonged to the loved one of a distant relative belonging to Lena's family from 1865. And as the reader continues, this locket and it's visions hold a very important key to the story.
Throughout the story, it's hinted at that Ethan may not just be a human, but may have some supernatural powers of his own, but unfortunately, this never comes to fruition. Being that this is the first of four books, and I have only read this one, the other books may bring light to this subject. Lena, on the other hand, is about to turn sixteen, and turning sixteen in her family means you will be 'claimed.' Lena explains: " 'In my family, when you turn sixteen, you're Claimed. Your fate is chosen for you, and you become Light, like Aunt Del and Reece, or you become Dark, like Ridley. Dark or Light, Black or White. There's no grey in my family. We can't choose, and we can't undo it once we're Claimed. ' " In summary, Lena's family either become good witches (or whatever supernatural being they are) or bad witches (and such). Lena, by family, is considered a Natural at this point, where she can control the weather, write on walls without her hands or a pen,and break glass at will, so they believe she is most likely to be a Light witch, and they try to reinforce this thought into her throughout the entire book.
'Beautiful Creatures' is a great story, but it has quite a few flaws. The flow of the story is good, but when you come across so many inconsistencies, it can break the connection between story and reader, such as Lena suddenly revealing that her family had a word for what they called the telepathic communication between her and Ethan:
" 'Who knew Kelting would save my life.'
I had missed something, as usual. 'What's Kelting?'
'That's what it's called, the way we're able to communicate with each other no matter where we are. Some Casters can Kelt, some can't. Ridley and I used to be able to talk to each other at school that way, but---' ." Up until this scene, the reader is left to believe that this has never happened to Lena before, so to just bring this out so suddenly leaves us to think that this was a quick add-on to give Lena and her sister, Ridley, more of a connection,. Another time is when the popular girls at the local high school have it out for Lena, Lena lets on that she can't face them, but the very next page she's telling Ethan that she has to:
" I tried to pull her up, but she pulled me back down. She shrunk back next to the tire. 'I just need a minute.'
'Are you okay?'
'Look at them. They think I'm a monster. They formed a club.'
'They can't stand outsiders, and you're the new girl. A window broke. They need someone to blame. This is just a ---'
'Witch hunt.'
I wasn't going to say that.
But you were thinking it.
I squeezed her hand and my hair stood on end.
You don't have to do this.
Yes I do. I let people like them run me out of my last school. I'm not going to let it happen again. "
The story continues with Lena fearing that she is going to go Dark, so her and Ethan come across a locket vision of a witchcraft book that may be of help called 'the Book of Moons.' This is, personally, one of my favorite parts of 'Beautiful Creatures' because, in order for them to get the book, they have to go to a specific grave and dig it up! In this very chapter, we get to see a ghost - and this is the only chapter we see a ghost - and it is done wonderfully:
" She was only partially materialized, a mix of cloudy haze and light, fading in and out as the air moved through her ghostly form, but there was no mistaking it. It was Genevieve, the woman in the painting. She had the same golden eyes and long, wavy red hair. Her hair blew gently in the wind, as if she was just a woman sitting on a bench at the bus stop, instead of an apparition sitting on a headstone in a graveyard. She was beautiful, even in her present state, and terrifying at the same time. "
The majority of the story involves Lena's family and Ethan trying everything they can to keep her from being claimed Dark. This seems to be a nod to reality, where all of us have a choice to be a good person or a bad person, but in 'Beautiful Creatures,' the authors play off of the fear that many people have: that they are just like their family, and have no control over who they are or will be. Overall, I believe readers of the 'Harry Potter' series would like this book, but would I read this again, although I gave it a very low rating? Yes, the story is that intriguing, but the writing could use quite a bit of work.
'Beautiful Creatures,' is a witchy novel series by Kami Garcia and Margaret Stohl, that brings the family of witches (among other supernatural creatures) to life: focusing on the niece, Lena, who just came to town to live with her shut-in uncle, Macon. Readers soon find out that Lena belongs to one of the oldest families in the Southern town of Gatlin.
Yet, the main character of this book isn't Lena, but a young man named Ethan Wate; a long time resident of Gatlin who attends the local high school. When we meet Ethan, we find out that he has been having dreams of a girl and a song for some time before Lena showed up, but when he overhears Lena playing the exact same song from his dream, he's sure it's her he's dreaming of.
Suddenly, the two, are able to communicate telepathically. This part is written in a way that is not believable for the reader because Ethan has been feeling that he is going crazy up until this point: hearing the song being played by Lena caused him to flee the school, as with some other things (not to give away too much), but when he can suddenly speak to Lena telepathically, it's as if this is completely normal to him. A more believable part would have had Ethan freaking out as he did before, maybe even more so.
The story takes a dramatic turn when Ethan finds an old locket out in a garden beside Macon's house. He and Lena are quickly transported to visions of a past event that happened nearby involving that very locket. For most of the book, the two are trying to find out more about this locket and who it belonged to. Each time Ethan and Lena touch the locket together, they are transported to another event in the same vision. They soon find out that the locket belonged to the loved one of a distant relative belonging to Lena's family from 1865. And as the reader continues, this locket and it's visions hold a very important key to the story.
Throughout the story, it's hinted at that Ethan may not just be a human, but may have some supernatural powers of his own, but unfortunately, this never comes to fruition. Being that this is the first of four books, and I have only read this one, the other books may bring light to this subject. Lena, on the other hand, is about to turn sixteen, and turning sixteen in her family means you will be 'claimed.' Lena explains: " 'In my family, when you turn sixteen, you're Claimed. Your fate is chosen for you, and you become Light, like Aunt Del and Reece, or you become Dark, like Ridley. Dark or Light, Black or White. There's no grey in my family. We can't choose, and we can't undo it once we're Claimed. ' " In summary, Lena's family either become good witches (or whatever supernatural being they are) or bad witches (and such). Lena, by family, is considered a Natural at this point, where she can control the weather, write on walls without her hands or a pen,and break glass at will, so they believe she is most likely to be a Light witch, and they try to reinforce this thought into her throughout the entire book.
'Beautiful Creatures' is a great story, but it has quite a few flaws. The flow of the story is good, but when you come across so many inconsistencies, it can break the connection between story and reader, such as Lena suddenly revealing that her family had a word for what they called the telepathic communication between her and Ethan:
" 'Who knew Kelting would save my life.'
I had missed something, as usual. 'What's Kelting?'
'That's what it's called, the way we're able to communicate with each other no matter where we are. Some Casters can Kelt, some can't. Ridley and I used to be able to talk to each other at school that way, but---' ." Up until this scene, the reader is left to believe that this has never happened to Lena before, so to just bring this out so suddenly leaves us to think that this was a quick add-on to give Lena and her sister, Ridley, more of a connection,. Another time is when the popular girls at the local high school have it out for Lena, Lena lets on that she can't face them, but the very next page she's telling Ethan that she has to:
" I tried to pull her up, but she pulled me back down. She shrunk back next to the tire. 'I just need a minute.'
'Are you okay?'
'Look at them. They think I'm a monster. They formed a club.'
'They can't stand outsiders, and you're the new girl. A window broke. They need someone to blame. This is just a ---'
'Witch hunt.'
I wasn't going to say that.
But you were thinking it.
I squeezed her hand and my hair stood on end.
You don't have to do this.
Yes I do. I let people like them run me out of my last school. I'm not going to let it happen again. "
The story continues with Lena fearing that she is going to go Dark, so her and Ethan come across a locket vision of a witchcraft book that may be of help called 'the Book of Moons.' This is, personally, one of my favorite parts of 'Beautiful Creatures' because, in order for them to get the book, they have to go to a specific grave and dig it up! In this very chapter, we get to see a ghost - and this is the only chapter we see a ghost - and it is done wonderfully:
" She was only partially materialized, a mix of cloudy haze and light, fading in and out as the air moved through her ghostly form, but there was no mistaking it. It was Genevieve, the woman in the painting. She had the same golden eyes and long, wavy red hair. Her hair blew gently in the wind, as if she was just a woman sitting on a bench at the bus stop, instead of an apparition sitting on a headstone in a graveyard. She was beautiful, even in her present state, and terrifying at the same time. "
The majority of the story involves Lena's family and Ethan trying everything they can to keep her from being claimed Dark. This seems to be a nod to reality, where all of us have a choice to be a good person or a bad person, but in 'Beautiful Creatures,' the authors play off of the fear that many people have: that they are just like their family, and have no control over who they are or will be. Overall, I believe readers of the 'Harry Potter' series would like this book, but would I read this again, although I gave it a very low rating? Yes, the story is that intriguing, but the writing could use quite a bit of work.
Kara Skinner (332 KP) rated The Queen's Consorts in Books
Sep 10, 2019
“We should feel nothing toward her, yet I’m drawn to her– as powerfully as I’m drawn to you.”
If you’ve been reading Lover’s Quarrel reviews, then you know how much I love plot and character with my sex scenes. I mean, look at how much I hate The Doctor’s Slave compared to Mine for Tonight when they (very) roughly have the same concept. The scarcity of plot in erotica can be particularly vexing when I’m in the mood for a MMF threesome. (Doesn’t happen often, but even then I want some plot and good characters.)
The Queen’s Consorts definitely delivered. “In the days before the darkness the sun shone so brightly flowers grew right out of the ground,” Sari said softly. “Just like magic.”
Like everyone else on the planet of Auroria, Sari has never seen sunlight, and she never will unless the Queen returns to her Consorts and takes her proper place on the throne. But she doubts that will ever happen. After all, the young Queen has been missing since infancy, separated from her Consorts who were kept away from the world in the Sacred City, the palace in the Capital.
It took me a little bit to get used to Auroria. It’s common in this world for a woman to have two husbands, who will love and please her. With women so rare, they are valuable and meant to be cherished. Or they are meant to be extremely profitable sex slaves.
Sari resisted the urge to take Aria to a shelter, knowing there was usually a far worse fate than a life on the streets for young, unclaimed females. Being much more rare than males, if a girl was unfortunate enough to be orphaned and alone, they were usually seized for the underground sex market that was saturated with males.
Pretty crazy for a Queendom, where women are revered, huh? But it’s actually not a flaw. It just goes to show how out of whack everything is without the Queen there.
Unfortunately, the scarcity of women get Aria and Sari hunted down by a pack of teenaged boys, looking to make some quick money. Sari is able to fight them off enough for them to run, but she takes a bad beating. She only lives when a Sacred City guard recognizes her as a Rayian Sister. The guard takes her into the Sacred City, where she’s left to the care of the Consorts, Taryen and Calder, in their private chambers. After years of being abused by the Rayian Sisters, Taryen and Calder are used to only relying on and trusting each other. But it isn’t long before they realize Sari isn’t like the other Sisters.
Both Taryen and Calder are extremely sexy in their own way. Right away I had Taryen pegged as the kinder one who would freely love Sari first and Calder would take longer to learn to love and trust Sari.
“I want to care for her,” the other man said before his friend Calder could answer. “It’s not fair for her to suffer for misdeeds of others, Cal. I know you know that.”
“She’s Rayian, Taryen. Her needs will be the same as the rest of them.”
Calder is definitely the more wary of the two. He’s incredibly protective of Taryen, and he doesn’t trust Rayians for good reason. I knew he’d come around eventually, but for the time being I enjoyed Taryen’s amazingness. He was quick to take care of Sari, even at his own risk.
“She will be angry and inclined to punish if others of our sex have abused her.”
“That’s all right,” Taryen whispered a breath away from Sari. “I will bear their punishment for them if that’s what she needs to heal.”
Can I also just say that I love it when authors know that “alright” isn’t a word and they use the correct form? Good editing gets to me just as much as good characters.
If you’re thinking Taryen’s character is over the top and unrealistic, then you would be right. But that’s explained! He was born with a defect that makes him pure of heart. He’s unable to hold onto negative feelings and he’s incredibly selfless because of it. And damn, he’s pretty wonderful. Just perfectly wonderful.
Calder’s not pure of heart and like most people who have been sexually abused for years, he’s angry and resentful. The only person he trusts is Taryen. I was hoping for a long love story between him and Sari, honestly. He needs to work through trust issues, and even if he is attracted to her, he can’t bring himself to fall in love with a Rayian after what he’s been through. Right?
No.
Calder is wary of Sari… for like an hour. I know that the laws of nature have demanded that he love her and everything, but it was still too insta-love. Taryen is pure of heart and doesn’t have the emotional baggage Calder and Sari has. Of course Taryen is going to fall in love quicker. Calder, however, should have held out a little longer. I wanted one of them to take his time falling in love with her.
But I love Calder and Taryen together. They are beautiful without a doubt, and their love for each other actually made it really difficult for me to imagine them loving Sari just as much.
“Never treat me like one of them,” Calder growled as if the words themselves were hurting him. “I’m your lifemate. You’re allowed to take pleasure from me.”
Taryen’s groan was breathy in a way that betrayed his desire. “I’m sorry. It just slipped out.”
Don’t apologize.” Calder’s tone softened as his touch became gentle, his fingers tracing the line of Taryen’s jaw. “Just tell me what you want. Tell me what you think about when you’re with them. What thought makes it bearable?”
“I think of you.”
I was swooning in the college library when I read this. SWOONING!
I mean seriously, Calder and Taryen have way too much heat and love for me to handle. They alone can put the entire erotica industry to shame, let alone adding Sari into the mix. I mean, it’s like having both Sayid and Sawyer from Lost in all their sexiness.
My biggest problem with the story was the question of who the Queen was. After all, the Queen is the only woman the Consorts are supposed to be attracted to, she’s the same age as them, and because she was missing, she would be a Rayian without a clear past. And yet it’s not until over a third of the way through the book that Taryen and Calder figure out who she is. Seriously? It’s not like there are many Rayians running around who are their own age and have a clear past. It also irritates me that everyone believed Laysa when she claimed to be the Queen. Of course she would claim credit when the sun came back because she’s an opportunistic bitch. But if she was really the Queen, then wouldn’t she have brought the sun back when she started using the Consorts? Years ago?
The only other thing that bothered me was the sound effect when they were performing, um… fellatio. Whenever the action is completed, it’s completed with a soft popping sound. What the hell is that? That’s not sexy. No. Stop it. Sound effects are never appreciated in sex scenes.
But all in all, this book rocks. I loved the world of Auroria and the political war. The love story was fantastic, all things considered. And if you’re looking for a substantial erotica book with good writing and a well-developed plot, then you really need to check out The Queen’s Consorts.
If you’ve been reading Lover’s Quarrel reviews, then you know how much I love plot and character with my sex scenes. I mean, look at how much I hate The Doctor’s Slave compared to Mine for Tonight when they (very) roughly have the same concept. The scarcity of plot in erotica can be particularly vexing when I’m in the mood for a MMF threesome. (Doesn’t happen often, but even then I want some plot and good characters.)
The Queen’s Consorts definitely delivered. “In the days before the darkness the sun shone so brightly flowers grew right out of the ground,” Sari said softly. “Just like magic.”
Like everyone else on the planet of Auroria, Sari has never seen sunlight, and she never will unless the Queen returns to her Consorts and takes her proper place on the throne. But she doubts that will ever happen. After all, the young Queen has been missing since infancy, separated from her Consorts who were kept away from the world in the Sacred City, the palace in the Capital.
It took me a little bit to get used to Auroria. It’s common in this world for a woman to have two husbands, who will love and please her. With women so rare, they are valuable and meant to be cherished. Or they are meant to be extremely profitable sex slaves.
Sari resisted the urge to take Aria to a shelter, knowing there was usually a far worse fate than a life on the streets for young, unclaimed females. Being much more rare than males, if a girl was unfortunate enough to be orphaned and alone, they were usually seized for the underground sex market that was saturated with males.
Pretty crazy for a Queendom, where women are revered, huh? But it’s actually not a flaw. It just goes to show how out of whack everything is without the Queen there.
Unfortunately, the scarcity of women get Aria and Sari hunted down by a pack of teenaged boys, looking to make some quick money. Sari is able to fight them off enough for them to run, but she takes a bad beating. She only lives when a Sacred City guard recognizes her as a Rayian Sister. The guard takes her into the Sacred City, where she’s left to the care of the Consorts, Taryen and Calder, in their private chambers. After years of being abused by the Rayian Sisters, Taryen and Calder are used to only relying on and trusting each other. But it isn’t long before they realize Sari isn’t like the other Sisters.
Both Taryen and Calder are extremely sexy in their own way. Right away I had Taryen pegged as the kinder one who would freely love Sari first and Calder would take longer to learn to love and trust Sari.
“I want to care for her,” the other man said before his friend Calder could answer. “It’s not fair for her to suffer for misdeeds of others, Cal. I know you know that.”
“She’s Rayian, Taryen. Her needs will be the same as the rest of them.”
Calder is definitely the more wary of the two. He’s incredibly protective of Taryen, and he doesn’t trust Rayians for good reason. I knew he’d come around eventually, but for the time being I enjoyed Taryen’s amazingness. He was quick to take care of Sari, even at his own risk.
“She will be angry and inclined to punish if others of our sex have abused her.”
“That’s all right,” Taryen whispered a breath away from Sari. “I will bear their punishment for them if that’s what she needs to heal.”
Can I also just say that I love it when authors know that “alright” isn’t a word and they use the correct form? Good editing gets to me just as much as good characters.
If you’re thinking Taryen’s character is over the top and unrealistic, then you would be right. But that’s explained! He was born with a defect that makes him pure of heart. He’s unable to hold onto negative feelings and he’s incredibly selfless because of it. And damn, he’s pretty wonderful. Just perfectly wonderful.
Calder’s not pure of heart and like most people who have been sexually abused for years, he’s angry and resentful. The only person he trusts is Taryen. I was hoping for a long love story between him and Sari, honestly. He needs to work through trust issues, and even if he is attracted to her, he can’t bring himself to fall in love with a Rayian after what he’s been through. Right?
No.
Calder is wary of Sari… for like an hour. I know that the laws of nature have demanded that he love her and everything, but it was still too insta-love. Taryen is pure of heart and doesn’t have the emotional baggage Calder and Sari has. Of course Taryen is going to fall in love quicker. Calder, however, should have held out a little longer. I wanted one of them to take his time falling in love with her.
But I love Calder and Taryen together. They are beautiful without a doubt, and their love for each other actually made it really difficult for me to imagine them loving Sari just as much.
“Never treat me like one of them,” Calder growled as if the words themselves were hurting him. “I’m your lifemate. You’re allowed to take pleasure from me.”
Taryen’s groan was breathy in a way that betrayed his desire. “I’m sorry. It just slipped out.”
Don’t apologize.” Calder’s tone softened as his touch became gentle, his fingers tracing the line of Taryen’s jaw. “Just tell me what you want. Tell me what you think about when you’re with them. What thought makes it bearable?”
“I think of you.”
I was swooning in the college library when I read this. SWOONING!
I mean seriously, Calder and Taryen have way too much heat and love for me to handle. They alone can put the entire erotica industry to shame, let alone adding Sari into the mix. I mean, it’s like having both Sayid and Sawyer from Lost in all their sexiness.
My biggest problem with the story was the question of who the Queen was. After all, the Queen is the only woman the Consorts are supposed to be attracted to, she’s the same age as them, and because she was missing, she would be a Rayian without a clear past. And yet it’s not until over a third of the way through the book that Taryen and Calder figure out who she is. Seriously? It’s not like there are many Rayians running around who are their own age and have a clear past. It also irritates me that everyone believed Laysa when she claimed to be the Queen. Of course she would claim credit when the sun came back because she’s an opportunistic bitch. But if she was really the Queen, then wouldn’t she have brought the sun back when she started using the Consorts? Years ago?
The only other thing that bothered me was the sound effect when they were performing, um… fellatio. Whenever the action is completed, it’s completed with a soft popping sound. What the hell is that? That’s not sexy. No. Stop it. Sound effects are never appreciated in sex scenes.
But all in all, this book rocks. I loved the world of Auroria and the political war. The love story was fantastic, all things considered. And if you’re looking for a substantial erotica book with good writing and a well-developed plot, then you really need to check out The Queen’s Consorts.
Bob Mann (459 KP) rated Tenet (2020) in Movies
Aug 28, 2020
Spectacular action set pieces done "in camera" (1 more)
Branagh and Debecki, both superb
Sound mix makes dialogue unintelligible (1 more)
In the words of Huey Lewis, "You're too darn loud"
Only Nolan and Schrödinger’s cat knows what’s going on.
Tenet is the long awaited new movie from Christopher Nolan. The movie that's set to reboot the multiplexes post-Covid. It's a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views.
How to write a spoiler-free plot summary? John David Washington (Denzel's lad) plays "The Protagonist" - a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he's on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about "Domestic Abuse"). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive.
This is cinema at its biggest and boldest. Nolan has taken a cinema 'splurge' gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his 'effects' for real and 'in camera', some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in "Inception" was crazy? You ain't seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film's ridiculously huge finale.
The 'inversion' aspects of the story also lends itself to some fight scenes - one in particular in an airport 'freeport' - which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role.
Nolan's crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema's cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing.
The 'timey-wimey' aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think "Oh, that's a sloppy continuity error" or "Shame the production design team missed that cracked wing mirror". Then later in the movie, you get at least a dozen "Aha!" moments. Some of them (no spoilers) are jaw-droppingly spectacular.
Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home.
And so to the first of my significant gripes with Tenet. The sound mix in the movie is all over the place. I'd go stronger than that... it's truly awful (expletive deleted)! Nolan often implements Shakespeare's trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to:
- the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from 'Tenetis'! (that joke © David Moody, 2020);
- the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?);
- a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears.
Overall, watching this with subtitles at a special showing might be advisable!
OK, so I only have a PhD in Physics... but at times I was completely lost as to the intricacies of the plot. It made "Inception" look like "The Tiger Who Came to Tea". There was an obvious 'McGuffin' in "Inception" - - ("These 'dream levels'... how exactly are they architected??".... "Don't worry... they'll never notice". And we didn't!) In "Tenet" there are McGuffins nested in McGuffins. So much of this is casually waved away as "future stuff... you're not qualified" that it feels vaguely condescending to the audience. At one point Kat says "I don't understand what's going on" - darn right luv.
There are also gaps in the storyline that jar. The word "Tenet"? What does it mean. Is it just a password? I'm none the wiser.
The manic pace of Tenet and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb's marriage problems from "Inception" or the father/daughter separation of "Interstellar". In fact, you barely care for anyone in the movie, perhaps with the exception of Kat.
It's a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It's a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years.
This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson's Potter co-star Clemence Poésy also pops up - rather more un-glam that usual - as the scientist plot-expositor early in the movie.
Nolan's regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery!
However, it's Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale.
So, given this was my most anticipated movie of the year, it's a bit of a curate's egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It's a movie which needs a second watch, so I'm heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch... it's not likely to go down... but it might go up.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/08/28/tenet-only-nolan-and-schrodingers-cat-knows-whats-going-on/ .)
How to write a spoiler-free plot summary? John David Washington (Denzel's lad) plays "The Protagonist" - a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he's on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about "Domestic Abuse"). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive.
This is cinema at its biggest and boldest. Nolan has taken a cinema 'splurge' gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his 'effects' for real and 'in camera', some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in "Inception" was crazy? You ain't seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film's ridiculously huge finale.
The 'inversion' aspects of the story also lends itself to some fight scenes - one in particular in an airport 'freeport' - which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role.
Nolan's crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema's cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing.
The 'timey-wimey' aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think "Oh, that's a sloppy continuity error" or "Shame the production design team missed that cracked wing mirror". Then later in the movie, you get at least a dozen "Aha!" moments. Some of them (no spoilers) are jaw-droppingly spectacular.
Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home.
And so to the first of my significant gripes with Tenet. The sound mix in the movie is all over the place. I'd go stronger than that... it's truly awful (expletive deleted)! Nolan often implements Shakespeare's trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to:
- the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from 'Tenetis'! (that joke © David Moody, 2020);
- the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?);
- a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears.
Overall, watching this with subtitles at a special showing might be advisable!
OK, so I only have a PhD in Physics... but at times I was completely lost as to the intricacies of the plot. It made "Inception" look like "The Tiger Who Came to Tea". There was an obvious 'McGuffin' in "Inception" - - ("These 'dream levels'... how exactly are they architected??".... "Don't worry... they'll never notice". And we didn't!) In "Tenet" there are McGuffins nested in McGuffins. So much of this is casually waved away as "future stuff... you're not qualified" that it feels vaguely condescending to the audience. At one point Kat says "I don't understand what's going on" - darn right luv.
There are also gaps in the storyline that jar. The word "Tenet"? What does it mean. Is it just a password? I'm none the wiser.
The manic pace of Tenet and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb's marriage problems from "Inception" or the father/daughter separation of "Interstellar". In fact, you barely care for anyone in the movie, perhaps with the exception of Kat.
It's a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It's a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years.
This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson's Potter co-star Clemence Poésy also pops up - rather more un-glam that usual - as the scientist plot-expositor early in the movie.
Nolan's regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery!
However, it's Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale.
So, given this was my most anticipated movie of the year, it's a bit of a curate's egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It's a movie which needs a second watch, so I'm heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch... it's not likely to go down... but it might go up.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/08/28/tenet-only-nolan-and-schrodingers-cat-knows-whats-going-on/ .)
Purple Phoenix Games (2266 KP) rated Tranquility in Tabletop Games
Oct 21, 2021
Are you a boat person? As in, do you enjoy lounging on a boat, floating to nowhere in particular, just enjoying the day? Or are you a thrill-seeking water-skiier or tuber that enjoys shredding the waves and nearly drowning? Perhaps you are neither. I am definitely in the first category. I would rather just toot around a lake in a boat, maybe throw out a fishing pole, and just enjoy being out on the water with little care for what may be happening in the world around me. So when I heard that Lucky Duck Games was planning on publishing Tranquility I just had to jump at the opportunity to get it on my table. And I was definitely impressed.
Tranquility is a cooperative hand management, tile placement card game for one to five players. In it players will be attempting to create a sea of islands around which they sail their boat towards infinite paradise. They will accomplish this by laying numbered cards from their hand in numerical order before any of the players run out of chances to play a card. Oh, and there’s also no talking during the game. That’s kind of a big deal.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup the standard game, place all the border cards around a 6×6 grid, as in the photo below. Shuffle the appropriate number of Start and Finish cards into the deck of Island cards and place that beside the grid. Draw a hand of five cards and the game may begin. Setup is similar to the multiplayer setup, with a few changes. Once the hand of cards has been drawn, the game may begin! It is the solo player’s goal to build the sea of island cards, and place the Start and Finish cards before they run out of cards to be legally played.
The game is played over many turns. Each turn players will be either playing a card from hand or discarding two cards. When a player plays a card from hand to the grid, they may place it anywhere they wish within the grid. The goal is to have each card placed numerically in order beginning from the lower left of the grid in a zig-zag pattern left to right, then ascending to the next highest level. In other words, the play area would be ordered numerically as English-speaking people read, but from the bottom up instead of the top down – like a reverse typewriter.
When a card is played, the player may choose to place it in its own area, or immediately next to another card already in play. If the new card is placed adjacent to an existing card, the player must discard cards equal to the difference between the values of the two adjacent cards. For example, if a 12 is placed next to a 14, then the player would need to discard two cards after placement. If a card is placed that is already in direct numerical order, no discards are needed. Again, a card at the right-hand edge of a row is adjacent to the card on the next row higher on the left-hand edge, and this is the most difficult aspect of the game to grasp for new players.
Should a player instead wish to discard two cards for their turn, they do so to their discard pile. After each action (playing a card or discarding two cards) the player will draw back up to their hand of five cards.
Eventually, the player will happen across the Start and Finish cards. In the solo game, when a Start card is placed (outside the grid, but in amongst the border cards in the lower left-hand corner), the player will need to draw eight cards from the draw deck, keep four, and discard the remaining eight. This eats up cards from the draw pile and draws the game closer to the end. When the grid is completed and all the numbered cards are in numerical order, the player may then play the Finish card to end the game. If all cards are properly placed the player wins! If not, they must try again. Probably immediately, because it is that kind of game.
Components. This game is a bunch of square cards in a cubic box. Now, while that doesn’t sound super exciting, the art on the cards certainly make up for the lack of component diversity. Each card is matte finished, which I prefer for cards with great art on them. And oh man, that art is something wonderful! I have always been a fan of Tristam Rossin’s art, and it is on full display here. The cards are, well, I guess I cannot find the correct word because they aren’t double-sided, but split on the horizontal, with a daytime scene on the “top” and a nighttime scene on the “bottom” (or vice-versa, however you feel). I have nothing but praise for the components here.
The gameplay is familiar in feel, but definitely a little different and a whole lot of fun. Fans of The Mind will find this familiar in that the game is structured around silent players building a grid/stack of numerically appropriate cards until the win condition is met. However, I have not been able to play The Mind solo, and Tranquility comes with solo rules in the box. So that’s a win in my book.
Now, Tranquility solo is no cakewalk. No, there are no other players to make crazy decisions to throw off any tactics planned, but you most certainly can misjudge where to place a card, and then be married to its position as you try to fill in all the appropriate cards around it. I learned that all too early when I decided my first game that I should try to divide the grid into equal sections and approximate where a 48 should go. Well, I’ll tell you now that a 48 has absolutely no business being a row above a 19 (check the photo above if you don’t believe me). Silly choices like this make for an afternoon of pondering optimal placements when unboxing your next play, and that brings a smile to my face. Any time I think about a game the next day or several days later and it entices me to play again with a different strategy, I feel is the mark of a great game.
I have yet to play this with a group (damn COVID), but I know the people I play with are going to love this one. And, honestly, I am going to love the peace and quiet as the game plays out, so I can think about my turn and then think about a different possibility once someone ruins my plans. But I tell you what, even as a solo game, this one is great. I am quite happy to keep this as a pure solo experience, but I do want to try it once with others. We do not typically give out ratings for Solo Chronicles reviews, but this one would be pretty high, I’m telling you now. Okay, I have to go get the boat ready and pack my cooler. Enjoy Tranquility!
Tranquility is a cooperative hand management, tile placement card game for one to five players. In it players will be attempting to create a sea of islands around which they sail their boat towards infinite paradise. They will accomplish this by laying numbered cards from their hand in numerical order before any of the players run out of chances to play a card. Oh, and there’s also no talking during the game. That’s kind of a big deal.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup the standard game, place all the border cards around a 6×6 grid, as in the photo below. Shuffle the appropriate number of Start and Finish cards into the deck of Island cards and place that beside the grid. Draw a hand of five cards and the game may begin. Setup is similar to the multiplayer setup, with a few changes. Once the hand of cards has been drawn, the game may begin! It is the solo player’s goal to build the sea of island cards, and place the Start and Finish cards before they run out of cards to be legally played.
The game is played over many turns. Each turn players will be either playing a card from hand or discarding two cards. When a player plays a card from hand to the grid, they may place it anywhere they wish within the grid. The goal is to have each card placed numerically in order beginning from the lower left of the grid in a zig-zag pattern left to right, then ascending to the next highest level. In other words, the play area would be ordered numerically as English-speaking people read, but from the bottom up instead of the top down – like a reverse typewriter.
When a card is played, the player may choose to place it in its own area, or immediately next to another card already in play. If the new card is placed adjacent to an existing card, the player must discard cards equal to the difference between the values of the two adjacent cards. For example, if a 12 is placed next to a 14, then the player would need to discard two cards after placement. If a card is placed that is already in direct numerical order, no discards are needed. Again, a card at the right-hand edge of a row is adjacent to the card on the next row higher on the left-hand edge, and this is the most difficult aspect of the game to grasp for new players.
Should a player instead wish to discard two cards for their turn, they do so to their discard pile. After each action (playing a card or discarding two cards) the player will draw back up to their hand of five cards.
Eventually, the player will happen across the Start and Finish cards. In the solo game, when a Start card is placed (outside the grid, but in amongst the border cards in the lower left-hand corner), the player will need to draw eight cards from the draw deck, keep four, and discard the remaining eight. This eats up cards from the draw pile and draws the game closer to the end. When the grid is completed and all the numbered cards are in numerical order, the player may then play the Finish card to end the game. If all cards are properly placed the player wins! If not, they must try again. Probably immediately, because it is that kind of game.
Components. This game is a bunch of square cards in a cubic box. Now, while that doesn’t sound super exciting, the art on the cards certainly make up for the lack of component diversity. Each card is matte finished, which I prefer for cards with great art on them. And oh man, that art is something wonderful! I have always been a fan of Tristam Rossin’s art, and it is on full display here. The cards are, well, I guess I cannot find the correct word because they aren’t double-sided, but split on the horizontal, with a daytime scene on the “top” and a nighttime scene on the “bottom” (or vice-versa, however you feel). I have nothing but praise for the components here.
The gameplay is familiar in feel, but definitely a little different and a whole lot of fun. Fans of The Mind will find this familiar in that the game is structured around silent players building a grid/stack of numerically appropriate cards until the win condition is met. However, I have not been able to play The Mind solo, and Tranquility comes with solo rules in the box. So that’s a win in my book.
Now, Tranquility solo is no cakewalk. No, there are no other players to make crazy decisions to throw off any tactics planned, but you most certainly can misjudge where to place a card, and then be married to its position as you try to fill in all the appropriate cards around it. I learned that all too early when I decided my first game that I should try to divide the grid into equal sections and approximate where a 48 should go. Well, I’ll tell you now that a 48 has absolutely no business being a row above a 19 (check the photo above if you don’t believe me). Silly choices like this make for an afternoon of pondering optimal placements when unboxing your next play, and that brings a smile to my face. Any time I think about a game the next day or several days later and it entices me to play again with a different strategy, I feel is the mark of a great game.
I have yet to play this with a group (damn COVID), but I know the people I play with are going to love this one. And, honestly, I am going to love the peace and quiet as the game plays out, so I can think about my turn and then think about a different possibility once someone ruins my plans. But I tell you what, even as a solo game, this one is great. I am quite happy to keep this as a pure solo experience, but I do want to try it once with others. We do not typically give out ratings for Solo Chronicles reviews, but this one would be pretty high, I’m telling you now. Okay, I have to go get the boat ready and pack my cooler. Enjoy Tranquility!
