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Death By Rock and Roll by The Pretty Reckless
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Rock 'n' roll is a religion. It's a commitment to an ideal, a belief system. The lifestyle and...
Lottie disney bookworm (1056 KP) rated What Once Was Mine in Books
Oct 25, 2021
๐พ๐๐๐ ๐๐ ๐น๐๐๐๐๐๐๐โ๐ ๐๐๐๐๐๐ ๐
๐๐๐๐ ๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐?
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is โWhat if Rapunzelโs mother drank a potion from the wrong flower?โ Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disneyโs โTangledโ movie: Gothel is Rapunzelโs captor and โmotherโ, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
โ๐๐๐ ๐ฉ๐ง๐ช๐ฉ๐ ๐๐๐ค๐ช๐ฉ ๐ฎ๐ค๐ช ๐๐จ ๐๐ก๐ก ๐ฉ๐๐ฃ๐๐ก๐๐, ๐ก๐๐ ๐ ๐ฎ๐ค๐ช๐ง ๐๐ง๐๐๐๐จ, ๐๐๐ฅ๐ช๐ฃ๐ฏ๐๐กโ
What Once was Mine is written from Rapunzelโs perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswellโs Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughterโs expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldnโt be orchestrated by her mother, the only family she has ever known, could it?
โ๐ฝ๐๐๐๐ฃ ๐ฎ๐ค๐ช๐ง ๐ฃ๐๐ฃ๐๐ฉ๐๐๐ฃ๐ฉ๐ ๐ฎ๐๐๐ง ๐๐ฎ ๐๐ค๐ง๐๐๐ซ๐๐ฃ๐ ๐ฎ๐ค๐ช๐ง๐จ๐๐ก๐, ๐๐๐ฅ๐ช๐ฃ๐ฏ๐๐ก. ๐๐๐๐ฉโ๐จ ๐ ๐๐๐ง ๐๐๐ฉ๐ฉ๐๐ง ๐๐๐๐ฉ ๐ฉ๐๐๐ฃ ๐๐ก๐ค๐๐ฉ๐๐ฃ๐ ๐ก๐๐ฃ๐ฉ๐๐ง๐ฃ๐จ.โ
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but Iโm not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as โmurderhairโ and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didnโt make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzelโs perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswellโs characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the โrealโ Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Ginaโs mother is just legendary.
โ๐๐๐ ๐ฌ๐๐จ๐ฃโ๐ฉ ๐๐๐๐จ๐๐ฃ๐ ๐๐๐จ๐ฉ๐๐ฃ๐ฉ ๐ก๐๐๐๐ฉ๐จ; ๐จ๐๐ ๐ฌ๐๐จ ๐ฅ๐ช๐ง๐จ๐ช๐๐ฃ๐ ๐๐ฃ ๐ช๐ฃ๐ง๐๐๐ก๐๐ฏ๐๐ ๐๐ง๐๐๐ข ๐ค๐ ๐ฃ๐ค๐ง๐ข๐๐ก๐๐ฎโ
The writing style isnโt for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Donโt get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswellโs Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
โ๐๐๐ ๐๐๐ ๐ฅ๐ค๐ฌ๐๐ง ๐๐ฃ๐ ๐ฌ๐๐ก๐ก ๐๐ฃ๐ ๐ ๐จ๐ฉ๐ช๐๐๐ค๐ง๐ฃ ๐๐๐จ๐ฅ๐ค๐จ๐๐ฉ๐๐ค๐ฃโ
What Once Was Mine brings a whole new depth to the characters of Disneyโs Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Donโt worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is โWhat if Rapunzelโs mother drank a potion from the wrong flower?โ Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disneyโs โTangledโ movie: Gothel is Rapunzelโs captor and โmotherโ, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
โ๐๐๐ ๐ฉ๐ง๐ช๐ฉ๐ ๐๐๐ค๐ช๐ฉ ๐ฎ๐ค๐ช ๐๐จ ๐๐ก๐ก ๐ฉ๐๐ฃ๐๐ก๐๐, ๐ก๐๐ ๐ ๐ฎ๐ค๐ช๐ง ๐๐ง๐๐๐๐จ, ๐๐๐ฅ๐ช๐ฃ๐ฏ๐๐กโ
What Once was Mine is written from Rapunzelโs perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswellโs Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughterโs expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldnโt be orchestrated by her mother, the only family she has ever known, could it?
โ๐ฝ๐๐๐๐ฃ ๐ฎ๐ค๐ช๐ง ๐ฃ๐๐ฃ๐๐ฉ๐๐๐ฃ๐ฉ๐ ๐ฎ๐๐๐ง ๐๐ฎ ๐๐ค๐ง๐๐๐ซ๐๐ฃ๐ ๐ฎ๐ค๐ช๐ง๐จ๐๐ก๐, ๐๐๐ฅ๐ช๐ฃ๐ฏ๐๐ก. ๐๐๐๐ฉโ๐จ ๐ ๐๐๐ง ๐๐๐ฉ๐ฉ๐๐ง ๐๐๐๐ฉ ๐ฉ๐๐๐ฃ ๐๐ก๐ค๐๐ฉ๐๐ฃ๐ ๐ก๐๐ฃ๐ฉ๐๐ง๐ฃ๐จ.โ
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but Iโm not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as โmurderhairโ and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didnโt make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzelโs perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswellโs characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the โrealโ Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Ginaโs mother is just legendary.
โ๐๐๐ ๐ฌ๐๐จ๐ฃโ๐ฉ ๐๐๐๐จ๐๐ฃ๐ ๐๐๐จ๐ฉ๐๐ฃ๐ฉ ๐ก๐๐๐๐ฉ๐จ; ๐จ๐๐ ๐ฌ๐๐จ ๐ฅ๐ช๐ง๐จ๐ช๐๐ฃ๐ ๐๐ฃ ๐ช๐ฃ๐ง๐๐๐ก๐๐ฏ๐๐ ๐๐ง๐๐๐ข ๐ค๐ ๐ฃ๐ค๐ง๐ข๐๐ก๐๐ฎโ
The writing style isnโt for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Donโt get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswellโs Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
โ๐๐๐ ๐๐๐ ๐ฅ๐ค๐ฌ๐๐ง ๐๐ฃ๐ ๐ฌ๐๐ก๐ก ๐๐ฃ๐ ๐ ๐จ๐ฉ๐ช๐๐๐ค๐ง๐ฃ ๐๐๐จ๐ฅ๐ค๐จ๐๐ฉ๐๐ค๐ฃโ
What Once Was Mine brings a whole new depth to the characters of Disneyโs Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Donโt worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
Connor Sheffield (293 KP) rated Batman v Superman: Dawn of Justice (2016) in Movies
Apr 18, 2017
The Good, The Bad and The Editing
So...here's a movie that split so many fans and has caused COUNTLESS arguments online. My review may also cause arguments, but I'm willing to risk that as I have a fair bit to say about this movie, most importantly and foremost;
I enjoyed the movie!
The Good:
Let me start with what's good because I feel there's never enough positivity around this movie so here goes.
Ben Affleck and Gal Gadot were the two focuses of this movie because they had a lot of pressure on them to bring Batman and Wonder Woman to life and do the characters justice (terrible I know but I couldn't resist). All over the internet I saw hate for Ben Affleck and people saying Gal Gadot was too skinny. At first, I'll be honest, I did think Gal Gadot was really skinny and couldn't imagine her as Wonder Woman, BUT, unlike most people, I knew that before they would film her scenes, she would be 'buffing up' because I have faith in Zack Snyder because he is a fan and has made brilliant films. Man Of Steel made me like Superman, because of the way he was written as conflicted and the whole film made him more human and I loved it.
Here's where some people will disagree highly with me....I am not a big fan of the Nolan trilogy Batman. Now, before you throw a fit and verbally kick my ass, let me try and tell you why. The Voice! (it's not the only reason, but this is the reason I'm trying to make a point of) Batman a.k.a Bruce Wayne is a BILLIONAIRE, so who thought that the best way for him to disguise his voice would be to make him sound like he's fucked up his throat somehow? A billionaire with all those gadgets would surely think that what he needs is a voice modulator. Snyder brought in the voice modulator and I fell in love in that first trailer from hearing Batman talk through a voice modulator because I was sat there like "Hallelujah they finally worked out what a billionaire vigilante would do!" and I think it could be just me, but I honestly would prefer to think of Batman using one of those rather than grumbling his voice, because it just makes more sense.
So...Batfleck was incredible. My favourite portrayal so far and here's why:
- Arkham game fighting style
- Aged personality that says it all about why he's that violent
- He's definitely a great portrayal of the Dark Knight Returns version of Batman
- Ben Affleck is a great actor (in my opinion)
People's biggest complaint was 'Batman Kills' and I've had this discussion with my friends many times. Yes people died, IT'S HAPPENED BEFORE! It's rare but it's happened. You like the realism of Nolan's trilogy but there's a realism to Batfleck that you might not be seeing. He's been through all the same shit year in, year out for decades. Villains cause chaos, Batman fights villain, lets them live, puts them away, they break out, rinse repeat. Doing that for decades, losing people you love because of your choice not to kill, would surely cause a spark in your mind and Bruce Wayne says this in the movie through less words. "How many good guys are left? How many stay that way?"
If you think about it, he's essentially saying "I was a good guy but even I have had my boundaries pushed to the line and over". He's finally at the age where he has a state of mind that from his perspective...bad guys don't deserve to be shown mercy, but at the same time, he doesn't necessarily kill the bad guys directly.
Think of the warehouse scene. Bad Guy throws grenade, Batman kicks it back at him. Grenade goes BOOM. Bad guys die. BUT! If the guy hadn't have tried to throw the grenade, Batman wouldn't have kicked it back, and it wouldn't have ended in their death. Simple as that.
Let's move on though.
Superman is conflicted and the movie gets very political with a message of "Here's a God-Like figure. Should he be allowed to do what he wants or should we take away Choice by having under the Governments thumb?" and Superman personally is having internal issues of "I want this to be my home because it's the only home I've known, but these people don't want me and this stress is affecting both Clark Kent and Superman". He should have been able to see or hear the bomb in the wheelchair, but his mind was preoccupied with "Why does this government and these people hate me when I saved not only my city but the whole world?". Think about your stress with work, with college, school etc. and how it really does effect everything else around you. You might not want to go out with friends because you feel drained from the stress, now try to imagine that on the level of Superman! The poor guy just wanted to help.
My biggest enjoyment from this film was ALL OF THE DC REFERENCES! There were so many cool easter eggs, references etc. that I adored from Riddler Question Marks, to seeing Superman in a skeletal form after the Nuke explosion and then regaining his life force from the flowers through their Photosynthesis just like in the graphic novel! It was an incredible experience and I loved the film mainly for that.
The Bad:
Doomsday....I want to hope it's not the actual Doomsday and maybe just a failed experiment that Lex tried out but at the same time I know it probably is meant to be THE Doomsday.
The Editing:
The editing was jumpy and some cuts didn't make sense UNTIL the Ultimate Cut. The Ultimate Cut gives us some scenes with Clark Kent in Gotham BEFORE the big introduction to Batman in person, and hearing stories and investigating why people fear him, but also respect him. This would have worked so much better in the Theatrical Cut but sadly studios like to cut the film and people blame the Director for it which annoys me slightly.
Guaranteed this post might not change your mind, but I must say that you should try watching the film again if you've avoided it, watch the Ultimate Cut and really pay attention to how its being shown to the audience. Overall this is one of my favourite superhero movies and I will always stand up for it, BUT I'm not blind to it's faults.
I enjoyed the movie!
The Good:
Let me start with what's good because I feel there's never enough positivity around this movie so here goes.
Ben Affleck and Gal Gadot were the two focuses of this movie because they had a lot of pressure on them to bring Batman and Wonder Woman to life and do the characters justice (terrible I know but I couldn't resist). All over the internet I saw hate for Ben Affleck and people saying Gal Gadot was too skinny. At first, I'll be honest, I did think Gal Gadot was really skinny and couldn't imagine her as Wonder Woman, BUT, unlike most people, I knew that before they would film her scenes, she would be 'buffing up' because I have faith in Zack Snyder because he is a fan and has made brilliant films. Man Of Steel made me like Superman, because of the way he was written as conflicted and the whole film made him more human and I loved it.
Here's where some people will disagree highly with me....I am not a big fan of the Nolan trilogy Batman. Now, before you throw a fit and verbally kick my ass, let me try and tell you why. The Voice! (it's not the only reason, but this is the reason I'm trying to make a point of) Batman a.k.a Bruce Wayne is a BILLIONAIRE, so who thought that the best way for him to disguise his voice would be to make him sound like he's fucked up his throat somehow? A billionaire with all those gadgets would surely think that what he needs is a voice modulator. Snyder brought in the voice modulator and I fell in love in that first trailer from hearing Batman talk through a voice modulator because I was sat there like "Hallelujah they finally worked out what a billionaire vigilante would do!" and I think it could be just me, but I honestly would prefer to think of Batman using one of those rather than grumbling his voice, because it just makes more sense.
So...Batfleck was incredible. My favourite portrayal so far and here's why:
- Arkham game fighting style
- Aged personality that says it all about why he's that violent
- He's definitely a great portrayal of the Dark Knight Returns version of Batman
- Ben Affleck is a great actor (in my opinion)
People's biggest complaint was 'Batman Kills' and I've had this discussion with my friends many times. Yes people died, IT'S HAPPENED BEFORE! It's rare but it's happened. You like the realism of Nolan's trilogy but there's a realism to Batfleck that you might not be seeing. He's been through all the same shit year in, year out for decades. Villains cause chaos, Batman fights villain, lets them live, puts them away, they break out, rinse repeat. Doing that for decades, losing people you love because of your choice not to kill, would surely cause a spark in your mind and Bruce Wayne says this in the movie through less words. "How many good guys are left? How many stay that way?"
If you think about it, he's essentially saying "I was a good guy but even I have had my boundaries pushed to the line and over". He's finally at the age where he has a state of mind that from his perspective...bad guys don't deserve to be shown mercy, but at the same time, he doesn't necessarily kill the bad guys directly.
Think of the warehouse scene. Bad Guy throws grenade, Batman kicks it back at him. Grenade goes BOOM. Bad guys die. BUT! If the guy hadn't have tried to throw the grenade, Batman wouldn't have kicked it back, and it wouldn't have ended in their death. Simple as that.
Let's move on though.
Superman is conflicted and the movie gets very political with a message of "Here's a God-Like figure. Should he be allowed to do what he wants or should we take away Choice by having under the Governments thumb?" and Superman personally is having internal issues of "I want this to be my home because it's the only home I've known, but these people don't want me and this stress is affecting both Clark Kent and Superman". He should have been able to see or hear the bomb in the wheelchair, but his mind was preoccupied with "Why does this government and these people hate me when I saved not only my city but the whole world?". Think about your stress with work, with college, school etc. and how it really does effect everything else around you. You might not want to go out with friends because you feel drained from the stress, now try to imagine that on the level of Superman! The poor guy just wanted to help.
My biggest enjoyment from this film was ALL OF THE DC REFERENCES! There were so many cool easter eggs, references etc. that I adored from Riddler Question Marks, to seeing Superman in a skeletal form after the Nuke explosion and then regaining his life force from the flowers through their Photosynthesis just like in the graphic novel! It was an incredible experience and I loved the film mainly for that.
The Bad:
Doomsday....I want to hope it's not the actual Doomsday and maybe just a failed experiment that Lex tried out but at the same time I know it probably is meant to be THE Doomsday.
The Editing:
The editing was jumpy and some cuts didn't make sense UNTIL the Ultimate Cut. The Ultimate Cut gives us some scenes with Clark Kent in Gotham BEFORE the big introduction to Batman in person, and hearing stories and investigating why people fear him, but also respect him. This would have worked so much better in the Theatrical Cut but sadly studios like to cut the film and people blame the Director for it which annoys me slightly.
Guaranteed this post might not change your mind, but I must say that you should try watching the film again if you've avoided it, watch the Ultimate Cut and really pay attention to how its being shown to the audience. Overall this is one of my favourite superhero movies and I will always stand up for it, BUT I'm not blind to it's faults.
Chris Sawin (602 KP) rated Transformers Revenge of the Fallen (2009) in Movies
Jun 22, 2019
In 2009, I saw Transformers: Revenge of the Fallen in theaters during a midnight screening on its day of release. Somehow I managed to sit through a two and a half hour movie, drive home, write a review, post it, and promote it all before I went to bed that morning at 5am. Looking back, I still have no idea how something like that was accomplished while also juggling a full-time job. Needless to say, I've been eager to revisit Revenge of the Fallen ever since. Delirium begins to set in at that hour and midnight screenings are rarely ever not fun. Not to mention my skills as a movie critic have evolved greatly since then and my tastes have altered. The movie deserved a proper review with a sober state of mind. And yes, thankfully, the trip was worth taking because I'm not quite as enthusiastic about Revenge of the Fallen being such a great piece of cinema as its glaring flaws tend to overshadow what little good it had going for it.
The writing is obviously the sequel's biggest flaw and not just the storyline, but the dialogue as well. The Fallen touched down on earth all the way back in 17,000 B.C. and while we've been able to uncover the likes of cavemen existing thereabouts during that time period, there's no evidence of autobots or decepticons existing in that point in history. With the way they fight and their vast numbers, that seems pretty hard to believe. Oh, and look, Sam has held onto the shirt he wore when the world almost came to an end in the last movie and apparently hasn't ever washed it. A sliver of the allspark has just been sitting in that thing this entire time. Alice actually being a decepticon didn't feel right either. Probable maybe, but it just didn't seem to fit with all other transformers being vehicles of some kind. Meanwhile Soundwave is a satellite in this movie, but walks around on earth with some crazy worm thing in Dark of the Moon with no reason of him evolving between films.
The movie has a thing about humping, too. We see two male dogs humping on more than one occasion and Wheelie also humps the crap out of Megan Fox's leg, but that's not the only time male genitalia comes into play. We also get a good glimpse at the testicles of the Sun Harvester as John Turturro spits out a one-liner about its scrotum. Leo and his freaking out over absolutely everything is also really annoying and makes Shia LaBeouf's "BUM-BULL-BEE!!!" and "OP-TIM-US!!!" squawks feel like a breath of fresh air. Sam's parents are practically the kryptonite of the movie as they're featured way too much and in the worst of times. Sam's mom has the lamest dialogue while also overreacting to everything while his dad can't decide to let Sam go or protect him. Why they were ever even Egypt is a boggling question in itself. Why are there autobots in heaven? If Megatron's master was The Fallen and he took orders from Sentinel Prime in Dark of the Moon, just how many other Decepticons does he answer to? The questions and plot holes just seem endless.
The atrocious dialogue practically echoes through your bones. It starts with Ironhide saying, "Punk ass decepticon," and never really lets up. Between Sam's parents "smelling" a "$40,000 education," and Simmons telling everyone that what he was about to show them was "top secret" and "do not tell my mother," the bases are pretty much covered. Military sergeants listening to a kid in college seems outlandish anyway, but throwing their absolute blind faith in him seems really outrageous. I realize the cast of the movie had the writer's strike to deal with, but two of the three writers for Revenge of the Fallen also wrote Star Trek which showed none of the same problems that this movie had. The writing in a Michael Bay movie is already secondary. Throw in a writer's strike and you've got something as apocalyptic behind the camera as what's taking place on screen.
There is something entertaining deep within the loins of this cinematic abomination though. The special effects are more than satisfying and pretty much outshine the special effects in the first movie. Onscreen battles are more extraordinary, explosions are bigger, and the numbers are more massive. It feels more like an actual war this time around. Bumblebee also gets his time to shine in the sequel. His scene in the garage with Sam at the start of the movie is one of the better calm scenes in the entire thing and then there are his fight scenes. Several of the fight scenes seem inspired by Mortal Kombat; Bumblebee's spine-rip sequence and Optimusโ face ripping and hand bursting through the chest of The Fallen with its villainous heart. Optimus feels very scarcely used in the two Transformers sequels. He has a few scenes where he gets to be awesome and then spends a good portion of the movie being incapacitated. At least he was dead in this one, that's a liable excuse. In Dark of the Moon, he's basically just hanging out upside down for thirty to forty minutes while hundreds of people die. Even though The Fallen is dealt with in a matter of minutes, he is kind of cool. He teleports a lot like Nightcrawler and is voiced by Tony Todd. Unfortunately, he's only appealing on the surface, kind of sucks as a main villain, and is a total embarrassment to the decepticons.
Michael Bay needs to learn that more explosions and more destructive mayhem don't automatically make a film better than its predecessor. There are more battles between the autobots and decepticons, the stakes are higher, and the special effects are more impressive, but it's essentially just eye candy or like giving reconstructive facial surgery to a really hideous person; they're still ugly but their appearance is at least nice to look at now. With a storyline that jumps all over the place for no rhyme or reason, really terrible dialogue being spewed from just about every major character, and The Twins probably being more offensive than they are humorous, Revenge of the Fallen falls short of being half as good as Bay's original effort and is quite difficult to think of as anything more than a guilty pleasure.
The writing is obviously the sequel's biggest flaw and not just the storyline, but the dialogue as well. The Fallen touched down on earth all the way back in 17,000 B.C. and while we've been able to uncover the likes of cavemen existing thereabouts during that time period, there's no evidence of autobots or decepticons existing in that point in history. With the way they fight and their vast numbers, that seems pretty hard to believe. Oh, and look, Sam has held onto the shirt he wore when the world almost came to an end in the last movie and apparently hasn't ever washed it. A sliver of the allspark has just been sitting in that thing this entire time. Alice actually being a decepticon didn't feel right either. Probable maybe, but it just didn't seem to fit with all other transformers being vehicles of some kind. Meanwhile Soundwave is a satellite in this movie, but walks around on earth with some crazy worm thing in Dark of the Moon with no reason of him evolving between films.
The movie has a thing about humping, too. We see two male dogs humping on more than one occasion and Wheelie also humps the crap out of Megan Fox's leg, but that's not the only time male genitalia comes into play. We also get a good glimpse at the testicles of the Sun Harvester as John Turturro spits out a one-liner about its scrotum. Leo and his freaking out over absolutely everything is also really annoying and makes Shia LaBeouf's "BUM-BULL-BEE!!!" and "OP-TIM-US!!!" squawks feel like a breath of fresh air. Sam's parents are practically the kryptonite of the movie as they're featured way too much and in the worst of times. Sam's mom has the lamest dialogue while also overreacting to everything while his dad can't decide to let Sam go or protect him. Why they were ever even Egypt is a boggling question in itself. Why are there autobots in heaven? If Megatron's master was The Fallen and he took orders from Sentinel Prime in Dark of the Moon, just how many other Decepticons does he answer to? The questions and plot holes just seem endless.
The atrocious dialogue practically echoes through your bones. It starts with Ironhide saying, "Punk ass decepticon," and never really lets up. Between Sam's parents "smelling" a "$40,000 education," and Simmons telling everyone that what he was about to show them was "top secret" and "do not tell my mother," the bases are pretty much covered. Military sergeants listening to a kid in college seems outlandish anyway, but throwing their absolute blind faith in him seems really outrageous. I realize the cast of the movie had the writer's strike to deal with, but two of the three writers for Revenge of the Fallen also wrote Star Trek which showed none of the same problems that this movie had. The writing in a Michael Bay movie is already secondary. Throw in a writer's strike and you've got something as apocalyptic behind the camera as what's taking place on screen.
There is something entertaining deep within the loins of this cinematic abomination though. The special effects are more than satisfying and pretty much outshine the special effects in the first movie. Onscreen battles are more extraordinary, explosions are bigger, and the numbers are more massive. It feels more like an actual war this time around. Bumblebee also gets his time to shine in the sequel. His scene in the garage with Sam at the start of the movie is one of the better calm scenes in the entire thing and then there are his fight scenes. Several of the fight scenes seem inspired by Mortal Kombat; Bumblebee's spine-rip sequence and Optimusโ face ripping and hand bursting through the chest of The Fallen with its villainous heart. Optimus feels very scarcely used in the two Transformers sequels. He has a few scenes where he gets to be awesome and then spends a good portion of the movie being incapacitated. At least he was dead in this one, that's a liable excuse. In Dark of the Moon, he's basically just hanging out upside down for thirty to forty minutes while hundreds of people die. Even though The Fallen is dealt with in a matter of minutes, he is kind of cool. He teleports a lot like Nightcrawler and is voiced by Tony Todd. Unfortunately, he's only appealing on the surface, kind of sucks as a main villain, and is a total embarrassment to the decepticons.
Michael Bay needs to learn that more explosions and more destructive mayhem don't automatically make a film better than its predecessor. There are more battles between the autobots and decepticons, the stakes are higher, and the special effects are more impressive, but it's essentially just eye candy or like giving reconstructive facial surgery to a really hideous person; they're still ugly but their appearance is at least nice to look at now. With a storyline that jumps all over the place for no rhyme or reason, really terrible dialogue being spewed from just about every major character, and The Twins probably being more offensive than they are humorous, Revenge of the Fallen falls short of being half as good as Bay's original effort and is quite difficult to think of as anything more than a guilty pleasure.
Kirk Bage (1775 KP) rated The Expanse in TV
Sep 4, 2020 (Updated Feb 11, 2021)
In this particular future, where there exists a cold war tension between the splintered factions of humanity across the solar system, all is not well. Earthers, Dusters (Martians) and Skinnies (Belters) compete for resources and political strength in an ever shifting landscape of trust and betrayal. It is a sci-fi geekโs paradise, full of believable tech, an extensive character list and jargon coming out of the wazoo! Itโs all very complicatedโฆ and season five just finished airing on Amazon Prime on Wednesday 3rd Feb, so I thought it a good time to talk about it in detail.
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isnโt something you watch casually โ either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isnโt for you; although you suspect it is good and you just didnโt make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldnโt get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly โ the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and whyโฆ he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The showโs main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot โ you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isnโt going to be for everyone. It is very easy to say โI donโt get itโ and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! Itโs far from impossible they will ruin the vibe at some point and it will all fall flatโฆ or, it could become the stuff of legend. Iโll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and thereโs also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isnโt something you watch casually โ either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isnโt for you; although you suspect it is good and you just didnโt make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldnโt get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly โ the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and whyโฆ he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The showโs main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot โ you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isnโt going to be for everyone. It is very easy to say โI donโt get itโ and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! Itโs far from impossible they will ruin the vibe at some point and it will all fall flatโฆ or, it could become the stuff of legend. Iโll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and thereโs also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
Daniel Boyd (1066 KP) rated UNCHARTED 4: A Thief's End in Video Games
Jul 21, 2017
Visuals (1 more)
Characters
Lack of set pieces (1 more)
Nadine
One Last Time...
This game was definitely my most anticipated of the year. Production was shaky, with the lead game designers being swapped over during the early stages of the gameโs development, but the fact that Neil Druckman and Bruce Strailey had just finished developing the masterpiece that was The Last Of Us when they took this project on, I had every faith that this game was going to be great and it was, for the most part. The game opens with an aged Nathan who has left the treasure hunting life to settle down with his wife Elena. He now works as a diver for a salvaging company, but it is clear that he misses the more adventurous life. Then, long story short, Nateโs brother Sam is introduced into the fold and we get a fairly generic reason why Nate has never mentioned him in the past. Essentially Sam is in trouble and needs to pay off some dangerous people, which is why he needs Nateโs help in tracking down the pirate treasure that they began chasing a good number of years ago. Nate then lies to Elena about having to go to Malaysia for work reasons and their adventure begins.
The first thing that I want to praise this game for is its insanely impressive visuals. This is probably the best looking game that I have ever played through. Throughout the duration of the story, the player is granted with several outright beautiful landscapes and vistas. During the first half of Sam and Nateโs adventure, we see them go to Scotland, (which is actually where Iโm from,) but that is probably the most boring location that they visit, everywhere else is warm and exotic and truly stunning. The incredible visuals caused me several times to get confused when I was given control of the player character, often times thinking that I was still watching a cutscene before realising, โwait, I can play this?!โ The animations are also smooth for the majority of the game, for example early on in the game there is a mass brawl scene that takes place in a prison and although I was playing and controlling the punches that Nate was throwing, it looked like a choreographed fight from a movie like the Raid, which really did impress me in a big way. Although there are some animations that are a little more janky looking, especially when climbing and using the rope, but Iโll get back to that later.
As a character study, this is by far the best Uncharted game. The script is the best itโs been, the majority of the actors are brilliant in their roles and the relationships and emotions that are explored in this game are complex and compelling. However Uncharted is as much known for its characters and their relationships as it is for its epic, insane set pieces and that is sorely lacking here. There a few rinse and repeat building collapse and escape set pieces, which is nothing new to the Uncharted series and other than that, the big set piece of the game is the jeep chase that we saw at E3. Yeah, the biggest set piece in this game is a glorified car chase, as in pretty much the exact same jeep chase as we played though in Uncharted 2, but in Uncharted 2 it led to an epic train battle, which then led to the escape of the collapsed train. So basically, the biggest set piece in this game is only a portion of the awesome set piece that we already played through seven years ago. That is where this game sorely misses Amy Hennigโs influence, she really is a genius when it comes to epic action set pieces, whereas because Neil and Bruce are better are character, this is the main focus of Uncharted 4, but thatโs never been the main selling point of the Uncharted series for me, but hey, itโs what we got, so letโs go through the characters that appear in Uncharted 4.
First of all, I do like this version of Nate, he is older more restrained and more reluctant to get himself into danger than he was before. His brother Sam is an okay character, if a bit of an arse at times, although he clearly knows his way around a treasure map and his relationship with Nate is quite an interesting one. Itโs also nice to see Sully again even though his role in this game is fairly reserved, he is getting pretty old after all. The villains in this game arenโt great, which is pretty par for the course in the Uncharted series. The main antagonist is a wealthy man called Raef, he is about ages with Nate and he is a spoiled brat. He is a serviceable villain, but fairly generic and nothing to write home about. His sidekick, Nadine is the most unnecessary character I have seen in a game in a long time. There is literally no reason for her to be there other than for them to say, โlook at us, we have a strong female character that can kick the male characterโs ass, we arenโt sexist at all!โ She brings absolutely nothing to the plot and if she didnโt exist the game would literally be no different to what it is now.
As I played through the game I marvelled at how well made everything was and up until about halfway through the game, my experience was totally smooth and seamless, but as I started making my way towards the end of the game, Nate started to randomly jut around as the animations felt more stiff and less free flowing. His hand was going through rocks, rather than leaning on them, his feet would either sink below the ground under him or hover above it slightly and then during one of the last chapters in the game, during yet another collapsing building escape sequence, while Nate was sliding, because I didnโt quite slide into the spot that I was supposed to, he got caught on a piece of debris and the game glitched out indefinitely. Eventually I had to restart the game from the last checkpoint to proceed. This was the only major glitch that I experienced during my playthrough, but when the rest of the game is so smooth, and that smooth standard is what you expect from all Naughty Dog games, this moment stands out like a sore thumb.
I feel like I have been quite critical of the game so far, but I really did enjoy my time with it. I was working full time while playing the game at nights, so it served as a nice respite from work and I savoured every moment of it, I had no intention to rush my way through to the end of the game, I think I beat it over 10 nights or so and that to me was a nice rate to play through the game at, because after you beat this one, thatโs it, no more Uncharted, ever, so yeah, enjoy it. The game was a suitable send off for the epic series and as of now, it is my second favourite Uncharted game, behind Among Thieves. Unfortunately the glitches that I experienced towards the end of the game and the disturbing lack of set pieces throughout did detract from my experience, but if you are a long time Uncharted fan this is a must play and the standard of storytelling is truly astonishing.
The first thing that I want to praise this game for is its insanely impressive visuals. This is probably the best looking game that I have ever played through. Throughout the duration of the story, the player is granted with several outright beautiful landscapes and vistas. During the first half of Sam and Nateโs adventure, we see them go to Scotland, (which is actually where Iโm from,) but that is probably the most boring location that they visit, everywhere else is warm and exotic and truly stunning. The incredible visuals caused me several times to get confused when I was given control of the player character, often times thinking that I was still watching a cutscene before realising, โwait, I can play this?!โ The animations are also smooth for the majority of the game, for example early on in the game there is a mass brawl scene that takes place in a prison and although I was playing and controlling the punches that Nate was throwing, it looked like a choreographed fight from a movie like the Raid, which really did impress me in a big way. Although there are some animations that are a little more janky looking, especially when climbing and using the rope, but Iโll get back to that later.
As a character study, this is by far the best Uncharted game. The script is the best itโs been, the majority of the actors are brilliant in their roles and the relationships and emotions that are explored in this game are complex and compelling. However Uncharted is as much known for its characters and their relationships as it is for its epic, insane set pieces and that is sorely lacking here. There a few rinse and repeat building collapse and escape set pieces, which is nothing new to the Uncharted series and other than that, the big set piece of the game is the jeep chase that we saw at E3. Yeah, the biggest set piece in this game is a glorified car chase, as in pretty much the exact same jeep chase as we played though in Uncharted 2, but in Uncharted 2 it led to an epic train battle, which then led to the escape of the collapsed train. So basically, the biggest set piece in this game is only a portion of the awesome set piece that we already played through seven years ago. That is where this game sorely misses Amy Hennigโs influence, she really is a genius when it comes to epic action set pieces, whereas because Neil and Bruce are better are character, this is the main focus of Uncharted 4, but thatโs never been the main selling point of the Uncharted series for me, but hey, itโs what we got, so letโs go through the characters that appear in Uncharted 4.
First of all, I do like this version of Nate, he is older more restrained and more reluctant to get himself into danger than he was before. His brother Sam is an okay character, if a bit of an arse at times, although he clearly knows his way around a treasure map and his relationship with Nate is quite an interesting one. Itโs also nice to see Sully again even though his role in this game is fairly reserved, he is getting pretty old after all. The villains in this game arenโt great, which is pretty par for the course in the Uncharted series. The main antagonist is a wealthy man called Raef, he is about ages with Nate and he is a spoiled brat. He is a serviceable villain, but fairly generic and nothing to write home about. His sidekick, Nadine is the most unnecessary character I have seen in a game in a long time. There is literally no reason for her to be there other than for them to say, โlook at us, we have a strong female character that can kick the male characterโs ass, we arenโt sexist at all!โ She brings absolutely nothing to the plot and if she didnโt exist the game would literally be no different to what it is now.
As I played through the game I marvelled at how well made everything was and up until about halfway through the game, my experience was totally smooth and seamless, but as I started making my way towards the end of the game, Nate started to randomly jut around as the animations felt more stiff and less free flowing. His hand was going through rocks, rather than leaning on them, his feet would either sink below the ground under him or hover above it slightly and then during one of the last chapters in the game, during yet another collapsing building escape sequence, while Nate was sliding, because I didnโt quite slide into the spot that I was supposed to, he got caught on a piece of debris and the game glitched out indefinitely. Eventually I had to restart the game from the last checkpoint to proceed. This was the only major glitch that I experienced during my playthrough, but when the rest of the game is so smooth, and that smooth standard is what you expect from all Naughty Dog games, this moment stands out like a sore thumb.
I feel like I have been quite critical of the game so far, but I really did enjoy my time with it. I was working full time while playing the game at nights, so it served as a nice respite from work and I savoured every moment of it, I had no intention to rush my way through to the end of the game, I think I beat it over 10 nights or so and that to me was a nice rate to play through the game at, because after you beat this one, thatโs it, no more Uncharted, ever, so yeah, enjoy it. The game was a suitable send off for the epic series and as of now, it is my second favourite Uncharted game, behind Among Thieves. Unfortunately the glitches that I experienced towards the end of the game and the disturbing lack of set pieces throughout did detract from my experience, but if you are a long time Uncharted fan this is a must play and the standard of storytelling is truly astonishing.
Bong Mines Entertainment (15 KP) rated The Life of Pablo by Kanye West in Music
Jun 7, 2019
Kanye West is an iconic rapper from Chicago, Illinois. Not too long ago, he released his seventh studio album, entitled, โThe Life of Pabloโ.
ULTRA LIGHT BEAMS
The opening track functions as a Sunday-morning church revival, where Kanye is the ordained minister. Heโs standing in the pulpit, preaching a time-sensitive sermon to his loyal congregation.
His message: God over Satan, keep the faith, pray for Paris, pray for parents, and weโre living Godโs dream.
West sets the tone and declares where he stands on religious and socially-driven issues.
A Gospel choir emerges. The Dream and Kelly Price reinforce Westโs message by singing verses of encouragement, leading to a heartfelt testimonial by Chance The Rapper.
While the collection plates are being filled with hopes of a better tomorrow, Kirk Franklin concludes the service by praying for everyone. He uplifts those who feel they are not good enough or have said, โIโm sorry,โ too many times.
Father Stretch My Hands (Pt. 1)
A spiritual figure, Pastor T.L. Barrett, ushers in the second track with praises to The Most High. Future appears for a brief moment and Kid Cudi delivers a stunning chorus.
A liberated West returns to the pulpit and gives a brief, but somewhat explicit testimony of his past and present relationships to Amber Rose and Kim Kardashian.
Father Stretch My Hands (Pt. 2)
West continues his testimony and raps about his personal experiences. He speaks on the importance of returning his wifeโs phone calls and not wanting to make the same mistakes his father made. Also, he mentions the passing of the mother in Hollywood, being broke, and the reason why he broke his jaw.
Westโs words hit home, making room for another liberated soul to tell his story of triumph.
Desiigner, a newly-signed artist of G.O.O.D. Music, emerges from the underbelly of the ghetto. He raps about getting money illegally, drugs, and violence-familiarized by urban-street hustlers.
Though his grim subject matter contradicts the songโs hopeful message of liberation, it somehow adds mysticism or substance to Kanyeโs brutally-honest testimony.
Desiigner, blessed with a futuristic flow, highlights a few things that Westโs congregation needs to examine in order to be totally liberated.
FAMOUS
Whenever an important event occurs in an urban community, an after party is sure to follow. And a host of celebrities are always on standby to attend it. The Life of Pablo is no exception.
The fourth song features Rihanna and legendary-producer Swizz Beatz. Also, it contains timeless vocals from Sister Nancy and Nina Simone.
West, no longer in church clothes, stands out lyrically with witty, braggadocios lyrics.
Whether that statement is factual or not, itโs doesnโt really matter because West believes it is.
FEEDBACK
The fifth song serves as a transformational period, where West shows signs of the old Kanye.
West doesnโt need a psychiatrist to diagnose his problems. He does that himself by wearing them on his sleeves.
LOW LIGHTS
On the sixth track, West wrote via Twitter, โI put Low Lights on my album just thinking about all the moms driving their kids to school, then going to work.โ
Listeners can now relate to the everyday struggle that mothers endure.
The song features an acapella sample from โSo Aliveโ by Kings of Tomorrow.
The woman gives a grateful-testimony of Godโs graciousness over a laid-back, simple piano groove. Her honesty is felt. Also, she sounds liberated because her Creator has accepted her for who she is.
HIGH LIGHTS
From lows to high, the seventh track is in direct correlation to โLow Lightsโ.
West and Young Thug put on their festive robes because itโs time to celebrate life. El Debarge and The Dream chime in, and West addresses a lingering issue.
But this is only the beginning. West finishes strong with more thought-provoking lyrics.
FREESTYLE 4
The eighth track features Desiigner. Again, when he and West are together, all hell breaks loose.
The once festive scene transforms into a grimy underworld filled with a prostitute that West is explicitly lusting after. The temptation makes it difficult for him to stand on his opening statement of Jesus over Satan. But the power of darkness is more powerful than West thinks. So, he subconsciously indulges in sexual misconduct.
I LOVE KANYE
On the ninth track, West realizes that heโs at war with himself. The old Kanye, known for chopping up soul records is fighting against the new Kanye that everyone hates. But Kanye wants to go back to being sweet again if thatโs even possible. His multiple egos are fighting for control over the โrealโ Kanye.
WAVE
West doesnโt stare in the mirror for too long. On the tenth track, redemption happens. Chris Brown, disguised as an angel, comes to Westโs aid by providing much-needed light.
Miraculously, the sun emerges from the shade, a bird flies out its cage, and a nostalgic feeling is felt.
West realizes that nothing is impossible because waves donโt die and feelings donโt really go away.
FML (FOR MY LADY)
On the eleventh track, West realizes whatโs really important to him and thatโs his wife. Someone he wonโt jeopardize for no other woman. Also, his children are all layers of his soul.
The Weeknd appears in the form of Westโs conscience.
West remains focused and listeners can feel the positive aura of God surrounding him. He is determined to remain faithful to only Kim, no other woman.
REAL FRIENDS
West continues his introspective outlook and raps about trust issues that everyone can relate to. His honest, down-to-earth lyrics, mixed in with Ty Dolla $ignโs vocals, paints a vivid picture. Also, it forms a collectible souvenir that hangs nicely in listenersโ collective memories.
WOLVES
The thirteenth track provides a cooling effect with wild emotions and bizarre-sounds.
The setting, maybe an extraterritorial realm in Westโs subconscious mind. Perhaps, itโs the Milky Way Galaxy or a dream-state of Saturn.
A time for relaxation, preparing listeners for a surprise guest.
SILVER SURFER INTERMISSION
The fourteenth track features a phone conversation between incarcerated Max B and French Montana. Also, Max voices his gratitude to West for showing him love.
30 HOURS
On the fifteenth track, West takes a trip down memory lane and raps about an ex-girlfriend that he used to drive 30-hours to see. He used to drive from Chicago to St. Louis, St. Louis to Chicago. He recalls the good times they shared. But unfortunately, her infidelity was the reason why they broke up.
NO PARTIES IN L.A.
The sixteenth track will go down in history as a legendary bar-fest between two elite emcees. Kendrick Lamar and West rap with dope punchlines and clever metaphors over a Madlib-produced track. Once again, West is flowing like the old Kanye that people love.
FACTS
The seventeenth track is a standout anthem where West brags that Yeezy just jumped over Jumpman. Heโs in boss-mode, talking that big-money talk.
FADE
The final track features Post Malone and Ty Dollar $ign. The song has a reoccurring sample from Rare Earth, โYour love is fading/I feel it fade.โ
The Eli Linnetz-directed video shows Teyana Taylor explicitly dancing.
CONCLUSION
Kanye Westโs โThe Life of Pabloโ is a memorable hip-hop album with solid content and heavy replay value.
https://www.bongminesentertainment.com/kanye-west-life-pablo/
ULTRA LIGHT BEAMS
The opening track functions as a Sunday-morning church revival, where Kanye is the ordained minister. Heโs standing in the pulpit, preaching a time-sensitive sermon to his loyal congregation.
His message: God over Satan, keep the faith, pray for Paris, pray for parents, and weโre living Godโs dream.
West sets the tone and declares where he stands on religious and socially-driven issues.
A Gospel choir emerges. The Dream and Kelly Price reinforce Westโs message by singing verses of encouragement, leading to a heartfelt testimonial by Chance The Rapper.
While the collection plates are being filled with hopes of a better tomorrow, Kirk Franklin concludes the service by praying for everyone. He uplifts those who feel they are not good enough or have said, โIโm sorry,โ too many times.
Father Stretch My Hands (Pt. 1)
A spiritual figure, Pastor T.L. Barrett, ushers in the second track with praises to The Most High. Future appears for a brief moment and Kid Cudi delivers a stunning chorus.
A liberated West returns to the pulpit and gives a brief, but somewhat explicit testimony of his past and present relationships to Amber Rose and Kim Kardashian.
Father Stretch My Hands (Pt. 2)
West continues his testimony and raps about his personal experiences. He speaks on the importance of returning his wifeโs phone calls and not wanting to make the same mistakes his father made. Also, he mentions the passing of the mother in Hollywood, being broke, and the reason why he broke his jaw.
Westโs words hit home, making room for another liberated soul to tell his story of triumph.
Desiigner, a newly-signed artist of G.O.O.D. Music, emerges from the underbelly of the ghetto. He raps about getting money illegally, drugs, and violence-familiarized by urban-street hustlers.
Though his grim subject matter contradicts the songโs hopeful message of liberation, it somehow adds mysticism or substance to Kanyeโs brutally-honest testimony.
Desiigner, blessed with a futuristic flow, highlights a few things that Westโs congregation needs to examine in order to be totally liberated.
FAMOUS
Whenever an important event occurs in an urban community, an after party is sure to follow. And a host of celebrities are always on standby to attend it. The Life of Pablo is no exception.
The fourth song features Rihanna and legendary-producer Swizz Beatz. Also, it contains timeless vocals from Sister Nancy and Nina Simone.
West, no longer in church clothes, stands out lyrically with witty, braggadocios lyrics.
Whether that statement is factual or not, itโs doesnโt really matter because West believes it is.
FEEDBACK
The fifth song serves as a transformational period, where West shows signs of the old Kanye.
West doesnโt need a psychiatrist to diagnose his problems. He does that himself by wearing them on his sleeves.
LOW LIGHTS
On the sixth track, West wrote via Twitter, โI put Low Lights on my album just thinking about all the moms driving their kids to school, then going to work.โ
Listeners can now relate to the everyday struggle that mothers endure.
The song features an acapella sample from โSo Aliveโ by Kings of Tomorrow.
The woman gives a grateful-testimony of Godโs graciousness over a laid-back, simple piano groove. Her honesty is felt. Also, she sounds liberated because her Creator has accepted her for who she is.
HIGH LIGHTS
From lows to high, the seventh track is in direct correlation to โLow Lightsโ.
West and Young Thug put on their festive robes because itโs time to celebrate life. El Debarge and The Dream chime in, and West addresses a lingering issue.
But this is only the beginning. West finishes strong with more thought-provoking lyrics.
FREESTYLE 4
The eighth track features Desiigner. Again, when he and West are together, all hell breaks loose.
The once festive scene transforms into a grimy underworld filled with a prostitute that West is explicitly lusting after. The temptation makes it difficult for him to stand on his opening statement of Jesus over Satan. But the power of darkness is more powerful than West thinks. So, he subconsciously indulges in sexual misconduct.
I LOVE KANYE
On the ninth track, West realizes that heโs at war with himself. The old Kanye, known for chopping up soul records is fighting against the new Kanye that everyone hates. But Kanye wants to go back to being sweet again if thatโs even possible. His multiple egos are fighting for control over the โrealโ Kanye.
WAVE
West doesnโt stare in the mirror for too long. On the tenth track, redemption happens. Chris Brown, disguised as an angel, comes to Westโs aid by providing much-needed light.
Miraculously, the sun emerges from the shade, a bird flies out its cage, and a nostalgic feeling is felt.
West realizes that nothing is impossible because waves donโt die and feelings donโt really go away.
FML (FOR MY LADY)
On the eleventh track, West realizes whatโs really important to him and thatโs his wife. Someone he wonโt jeopardize for no other woman. Also, his children are all layers of his soul.
The Weeknd appears in the form of Westโs conscience.
West remains focused and listeners can feel the positive aura of God surrounding him. He is determined to remain faithful to only Kim, no other woman.
REAL FRIENDS
West continues his introspective outlook and raps about trust issues that everyone can relate to. His honest, down-to-earth lyrics, mixed in with Ty Dolla $ignโs vocals, paints a vivid picture. Also, it forms a collectible souvenir that hangs nicely in listenersโ collective memories.
WOLVES
The thirteenth track provides a cooling effect with wild emotions and bizarre-sounds.
The setting, maybe an extraterritorial realm in Westโs subconscious mind. Perhaps, itโs the Milky Way Galaxy or a dream-state of Saturn.
A time for relaxation, preparing listeners for a surprise guest.
SILVER SURFER INTERMISSION
The fourteenth track features a phone conversation between incarcerated Max B and French Montana. Also, Max voices his gratitude to West for showing him love.
30 HOURS
On the fifteenth track, West takes a trip down memory lane and raps about an ex-girlfriend that he used to drive 30-hours to see. He used to drive from Chicago to St. Louis, St. Louis to Chicago. He recalls the good times they shared. But unfortunately, her infidelity was the reason why they broke up.
NO PARTIES IN L.A.
The sixteenth track will go down in history as a legendary bar-fest between two elite emcees. Kendrick Lamar and West rap with dope punchlines and clever metaphors over a Madlib-produced track. Once again, West is flowing like the old Kanye that people love.
FACTS
The seventeenth track is a standout anthem where West brags that Yeezy just jumped over Jumpman. Heโs in boss-mode, talking that big-money talk.
FADE
The final track features Post Malone and Ty Dollar $ign. The song has a reoccurring sample from Rare Earth, โYour love is fading/I feel it fade.โ
The Eli Linnetz-directed video shows Teyana Taylor explicitly dancing.
CONCLUSION
Kanye Westโs โThe Life of Pabloโ is a memorable hip-hop album with solid content and heavy replay value.
https://www.bongminesentertainment.com/kanye-west-life-pablo/
Purple Phoenix Games (2266 KP) rated The Quest Kids in Tabletop Games
Mar 26, 2021
Have you heard of The Quest Kids? Itโs a YouTube channel featuring six young adventurers as they use powerful โTolk Gemsโ to help complete quests and protect the city of Treasure Falls. These kids are always striving for good and understanding, and are not afraid to do what is right in all scenarios. These Quest Kids are ideal role models for young children, and when I heard of board games based on the IP I knew my kids and I would love the games. Was my Faith Tolk Gem pointing me in the right direction, or has it gone dark for me? SPOILER: This game is great!
The Quest Kids is a dungeon crawler style board game for players as young as five years of age. Yes, FIVE! In it, players are acting as one of these Quest Kids, attempting to explore the cave of Tolk the Wise. The Quest Kids will find abilities to enhance their own, treasures to collect, and silly bad guys to scare away within, and the player with the most stars (VP) at the end will win the game!
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 from the publisher online or from your FLGS. -T
To setup, place the large game board on the table and populate it with the green, gray, and red Dungeon Tiles according to the rules. Also prepare the card decks and place them appropriately in their spaces on the board. The Treasure Tokens are placed in the Treasure Bag. Each player will receive one Quest Kid Player Mat and matching figurine. In addition each player will receive three starting Health Cards, one Quest Card, and one appropriate starting Ability Card. The game may now begin from the entrance to the cave!
On a turn players will be able to have free movement around the board exploring tiles and resolving them in turns. Green tiles are always good for the players, Gray tiles may have some bad guys but are predominantly good, and Red tiles are littered with those silly bad guys that will need to be scared away. A player will travel to a board location and encounter a Dungeon Tile by flipping it over and collecting the resources shown or attempting to scare away the bad guys. Bad guys can be scared by discarding the printed Ability Cards on their tile. Once discarded, the player collects the tile to their Player Mat for stars at game end.
Sometimes players will encounter a bad guy they do not possess enough Ability Cards to scare away. In these scenarios the player may ask the other players for help. Nonactive players may then offer Ability Cards from their stash in order to help achieve the goal. For every Ability Card donated to the cause the donating Quest Kid will receive one Kind Kid Card. Kind Kid Cards are always great and can be resolved at ANY time during the game. Should a player encounter a bad guy they cannot scare away and other Quest Kids cannot help with Ability Cards, the active player will suffer a loss of one of their Health Cards (worth two stars).
Some tiles or Quest cards will instruct the player to draw one or more treasures from the Treasure Bag. Most treasures are good and provide stars, but some are blobs that eat stars. Each Treasure Token also has two values. The top value is for the normal amount of stars. However, the bottom value is worth more stars if the controlling player matches the Quest Kid printed on the token. Some treasure may be worth just one star unless the Quest Kid is a match, in which case it is then worth three stars, for example.
Turns continue in this fashion until all Dungeon Tiles have been resolved or a stalemate reached. At this point all players count up their stars they have collected from various sources and the player with the most stars is the winner!
Components. This is a kidsโ game, can we all agree? THIS kidsโ game, however, boasts some of the most interesting and wonderful components I have seen. The board is huge and depicts a magical cave. Super cool. The tiles are easy to read and understand, as with all the iconography. The Quest Kids themselves all have the same abilities (unless the expansion is added โ and the review for that is coming soon), so that smaller children are not burdened with having to remember their special abilities. There are these plastic Tolk Gems that can be collected during the game and children absolutely flip for these things. And did you see those colorful and very big minis? I mean, come on! Itโs a kidsโ game! They LOVE minis! The game also comes with cardboard standees in case your children cannot handle the minis carefully enough.
Here is the deal. I absolutely adore these Quest Kids games. They are absolutely the perfect difficulty for young gamers who are ready to step up from the Candy Lands and Chutes & Ladders. Now, the box suggests 5+ but my 4-year-old did just fine with it, so take that with a grain of salt. Having had him already familiarize himself with The Quest Kids characters in The Quest Kids: Matching Adventure, this was an easier process getting this game to the table for us.
The game gives an exciting dungeon crawl experience for younger children, and itโs honestly something I never really knew I needed in my life until I now have it. It is so simple to teach and play and definitely encourages helping other players, if even just because you receive those Kind Kid cards in return. Anything to create that helpful player atmosphere to prepare them for heavier cooperative games is much appreciated.
Please do not misunderstand me. The Quest Kids is targeting younger players, but I do believe that any aged gamer could appreciate and have a good time with this. It certainly will not fill the void of other dungeon crawlers, but if you need a fix and would like to spend 20-45 minutes playing something to scratch that itch, then pull out your copy of The Quest Kids. It is super-light, colorful, and is a perfect stepping stone to bigger cooperative games. Purple Phoenix Games (with special guest Finley) gives this one a Kind 11/12. Please visit the publisherโs website to pick up your copy, and have a great time introducing your children (or partners, in-laws, grannies, pets, whomever) to cooperative dungeon crawls that will have you leaving the table in a much better mood than when you sat down.
The Quest Kids is a dungeon crawler style board game for players as young as five years of age. Yes, FIVE! In it, players are acting as one of these Quest Kids, attempting to explore the cave of Tolk the Wise. The Quest Kids will find abilities to enhance their own, treasures to collect, and silly bad guys to scare away within, and the player with the most stars (VP) at the end will win the game!
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 from the publisher online or from your FLGS. -T
To setup, place the large game board on the table and populate it with the green, gray, and red Dungeon Tiles according to the rules. Also prepare the card decks and place them appropriately in their spaces on the board. The Treasure Tokens are placed in the Treasure Bag. Each player will receive one Quest Kid Player Mat and matching figurine. In addition each player will receive three starting Health Cards, one Quest Card, and one appropriate starting Ability Card. The game may now begin from the entrance to the cave!
On a turn players will be able to have free movement around the board exploring tiles and resolving them in turns. Green tiles are always good for the players, Gray tiles may have some bad guys but are predominantly good, and Red tiles are littered with those silly bad guys that will need to be scared away. A player will travel to a board location and encounter a Dungeon Tile by flipping it over and collecting the resources shown or attempting to scare away the bad guys. Bad guys can be scared by discarding the printed Ability Cards on their tile. Once discarded, the player collects the tile to their Player Mat for stars at game end.
Sometimes players will encounter a bad guy they do not possess enough Ability Cards to scare away. In these scenarios the player may ask the other players for help. Nonactive players may then offer Ability Cards from their stash in order to help achieve the goal. For every Ability Card donated to the cause the donating Quest Kid will receive one Kind Kid Card. Kind Kid Cards are always great and can be resolved at ANY time during the game. Should a player encounter a bad guy they cannot scare away and other Quest Kids cannot help with Ability Cards, the active player will suffer a loss of one of their Health Cards (worth two stars).
Some tiles or Quest cards will instruct the player to draw one or more treasures from the Treasure Bag. Most treasures are good and provide stars, but some are blobs that eat stars. Each Treasure Token also has two values. The top value is for the normal amount of stars. However, the bottom value is worth more stars if the controlling player matches the Quest Kid printed on the token. Some treasure may be worth just one star unless the Quest Kid is a match, in which case it is then worth three stars, for example.
Turns continue in this fashion until all Dungeon Tiles have been resolved or a stalemate reached. At this point all players count up their stars they have collected from various sources and the player with the most stars is the winner!
Components. This is a kidsโ game, can we all agree? THIS kidsโ game, however, boasts some of the most interesting and wonderful components I have seen. The board is huge and depicts a magical cave. Super cool. The tiles are easy to read and understand, as with all the iconography. The Quest Kids themselves all have the same abilities (unless the expansion is added โ and the review for that is coming soon), so that smaller children are not burdened with having to remember their special abilities. There are these plastic Tolk Gems that can be collected during the game and children absolutely flip for these things. And did you see those colorful and very big minis? I mean, come on! Itโs a kidsโ game! They LOVE minis! The game also comes with cardboard standees in case your children cannot handle the minis carefully enough.
Here is the deal. I absolutely adore these Quest Kids games. They are absolutely the perfect difficulty for young gamers who are ready to step up from the Candy Lands and Chutes & Ladders. Now, the box suggests 5+ but my 4-year-old did just fine with it, so take that with a grain of salt. Having had him already familiarize himself with The Quest Kids characters in The Quest Kids: Matching Adventure, this was an easier process getting this game to the table for us.
The game gives an exciting dungeon crawl experience for younger children, and itโs honestly something I never really knew I needed in my life until I now have it. It is so simple to teach and play and definitely encourages helping other players, if even just because you receive those Kind Kid cards in return. Anything to create that helpful player atmosphere to prepare them for heavier cooperative games is much appreciated.
Please do not misunderstand me. The Quest Kids is targeting younger players, but I do believe that any aged gamer could appreciate and have a good time with this. It certainly will not fill the void of other dungeon crawlers, but if you need a fix and would like to spend 20-45 minutes playing something to scratch that itch, then pull out your copy of The Quest Kids. It is super-light, colorful, and is a perfect stepping stone to bigger cooperative games. Purple Phoenix Games (with special guest Finley) gives this one a Kind 11/12. Please visit the publisherโs website to pick up your copy, and have a great time introducing your children (or partners, in-laws, grannies, pets, whomever) to cooperative dungeon crawls that will have you leaving the table in a much better mood than when you sat down.
Kirk Bage (1775 KP) rated Tales from the Loop in TV
Jan 22, 2021
Such is the competition for our attention on the major streaming services, and such is the daunting depth of choice, that sometimes something of real quality can slip through the net for a while. I like to think that eventually, everything gets the audience it deserves, because eventually enough people that appreciated it will find it and pass it on. But it is apparent that good things can go under the radar very easily for one reason or another.
Everything about the production and presentation of Amazonโs Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaidโs Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a โwhat-ifโ situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stรฅlenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn โ it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stรฅlenhagโs work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Whichโฆ I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of โ the mystery is always allowed to remain mostly a mystery โ which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the showโs main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episodeโฆ which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you donโt realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you donโt understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldnโt be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others โ a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expectโฆ which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isnโt put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you โ I donโt think it is better or worse than other things, just moreโฆ me. There is every chance that if it isnโt youโฆ you will hate it. If you do begin, however, please see it to the finish before casting judgement โ the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadnโt. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or Iโd be happy to see it expand, as long as the temptation isnโt to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Everything about the production and presentation of Amazonโs Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaidโs Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a โwhat-ifโ situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stรฅlenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn โ it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stรฅlenhagโs work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Whichโฆ I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of โ the mystery is always allowed to remain mostly a mystery โ which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the showโs main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episodeโฆ which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you donโt realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you donโt understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldnโt be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others โ a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expectโฆ which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isnโt put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you โ I donโt think it is better or worse than other things, just moreโฆ me. There is every chance that if it isnโt youโฆ you will hate it. If you do begin, however, please see it to the finish before casting judgement โ the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadnโt. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or Iโd be happy to see it expand, as long as the temptation isnโt to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Haley Mathiot (9 KP) rated Crime and Punishment in Books
Apr 27, 2018
**spoilers**
Crime and Punishment by Fyodor Dostoevsky. read by Anthony Heald.
Genre: Fiction, classic
Rating: 5
Sin, Sentence, and Salvation
The allegory of Crime and Punishment
Crime and Punishment, one of the more famous works of Fyodor Dostoevsky, is considered โthe first great novel of his mature period,โ (Frank, 1995) and is one of his more famous books, rivaled only by The Brothers Karamazov. What makes Crime and Punishment such a classic? Perhaps because it is a picture of the only classic, and greatest story of all time. Crime and Punishment is an allegory of Salvation.
Self-justified
The main character, Rodion Romanovich Raskolnikov, was a poor student at a university, and was overcome with hate toward an old pawnbroker, and decided to rid the world of her for the greater good of everyone. He believed that she was a โlouse,โ and since everyone would be happier without her, his actions would be justified. He believed that he had broken the letter of the law only, but that it didnโt have any authority over him anyway because it was written by people just as low as himself. He didnโt believe in God, and in prison he was convinced that he didnโt deserve his treatment, and that it was something he simply needed to get over with. He had no higher authority, so he said โmy conscience is at rest.โ This is a picture of man before he is touched by the merciful salvation of Christ.
A Troubled Man
Although Raskolnikov justified his actions in killing the old woman, he still felt an overwhelming sense of guilt and fear over what he did. He worked very hard at keeping it a secret, and at first he thought he could live with the guilt that sat in back of his mind, but he was wrong. Raskolnikov had horrible dreams, was always sick, and one of the other characters noticed that he was constantly โset off by little thingsโ for no apparent reason (though the reader knew that it was only because it reminded him of his crime). This represents a man who knows in his heart that he is a sinner, but who will not turn and repent from his sin.
Unending Love
Sonya Semyonovna Marmeladov was the daughter of a drunkard who โtook the yellow cardโ and prostituted herself to support her family. Throughout the book, Sonya began to love Raskolnikov. Eventually, Raskolnikov told Sonya his secret. Sonya was horrified, but still loved him and forgave him after her initial shock wore off. As Raskolnikov was fighting inside with his conscience and his sins, he repeatedly snapped at her, refused her comfort, yelled at her, and so on. He was a bitter, angry, hateful manโand yet Sonya forgave him for everything he did to her, and everything he had done in his past. What redeeming quality Sonya saw in the wretch and why she forgave him, one cannot begin to comprehend; aside from the simple truth that Sonya was a loving, gentile, merciful girl. She saw that Raskolnikov needed someone to love him and she reached out to him, even when he repeatedly pushed her away. Sonyaโs love for him is a picture of Christโs unending and perfect love to His sinful people.
A Silent Witness
When Raskolnikov finally broke down and confessed his crime, Sonya moved to Siberia with him. Raskolnikov expected this, and knew that telling her not to come would be fruitless. She visited him often in prison and wrote to his family for him. But although Raskolnikov expected her to preach to him and push the Gospel in his face, she did not. Sonya followed the scriptureโs instruction to Christian wives with non-Christian husbands in 1 Peter 3:1โโ Wives, in the same way be submissive to your husbands so that, if any of them do not believe the word, they may be won over without words by the behavior of their wivesโฆโ The verse tells women to be good examples of Christ to their non-Christian husbands rather than to preach to them and try to convert them, and that is exactly what Sonya did, even though she was not married to him. She did not try to convert him with words; rather she won him with her love. She did not push the Testament into Raskolnikovโs hands, he asked for it. When she did bring it, she did not pester him to read it. She had faith, and showed Raskolnikov the love of Christ through her actions. In the end, it paid off. Although Dostoevsky does not specifically say that Raskolnikov was converted, he does imply that he eventually became a Christian when he mused โCan not her own convictions now be mine?โ
The truth will set you free
When Raskolnikov finally realized that he loved Sonya, he accepted that he was a criminal, and a murderer. When he finally accepted that he was a sinner, he repented and had a new life in him. He said he felt like โhe had risen againโ and that Sonya โlived only in his life.โ By life, Dostoevsky refers to his mentality. Before, he had been a living dead man in prison. He was hated by his inmates, was almost killed by them in an outbreak, was unaffected by anything that happened to him or his family, and eventually became ill from it all. But after his resurrection, he repented from his sins, learned to move on with his life, and started to change. He began to converse with his inmates, and they no longer hated him. Sonya was alive in his โlifeโ because of her love for him. When he was changed, she was so happy that she became sick with joy, to the point that she was ill in bed. Dostoevsky paints a picture of a redeemed man at the end of his novelโredeemed both by the law, and by God. This picture symbolizes the miracle of salvation through Christ.
An amazing Allegory
Dostoevsky was a wonderful writer because of his use of dialogue to tell the story, his descriptive scenes, his powerfully developed characters, and their inner dialogue. He often times told you that something was happening by only telling you what the character who was speaking at the time said in response to what was going on. For example, if Sonya was standing up, Dostoevsky would write โโฆ โhey, what do you stand for?โ for Sonya had stood.โ
He also painted such good descriptions of his characters, that by the middle of the book he didnโt have to say that Raskolnikov was musing in the corner of the room, glaring at anyone who was brave enough to look at him, while he stewed in grief under his old ratted cap, because you knew from how well he was described earlier and how well his character was developed from the dialogue, that he was doing exactly that.
His characters are so real, they almost frighten you because you see the things they do and feel and experience reflected in your own life. They are not perfectโin fact they are all incredibly flawed, but they are a joy to read.
His ending is superb, because he closes the story without actually telling you everything. He never says that Raskolnikov was converted, he never says when he got out of prison, and he never says that Sonya and he were married, but you know that it happened. The last scene of the story is so superb, it makes you want to read it again, just to experience the joy all over again.
But what really made Crime and Punishment the classic that it was is the picture of the best story in the world, the classic story of the world, showing through. The story of the Gospel, of Jesus Christโs unending love and sin and salvation is clearly portrayed, and makes a joyous read.
Works cited:
Quotes are from Crime and Punishment by Fyodor Dostoevsky, 1886
Frank, Joseph (1995). Dostoevsky: The Miraculous Years, 1865โ1871. Princeton University Press. ISBN 0-691-01587-2. (source found and taken from Wikipedia.com)
1 Peter 3:1 New International Version of The Holy Bible
Audio review: I had a hard time reading the book, simply because it was so huge that it was intimidating. I bought (ouch) the audio book of Crime and Punishment, recorded by Anthony Heald who did a fantastic job reading. His voices for the characters perfectly matched them, he felt for them, and he acted them. None of them were cheesy (yeah you all know how lame some male readers are at acting female voices). He read fast enough that the story didn't drag at all, but not so fast that you'd feel like you'd miss something if you didn't listen hard. I will definitely re-listen to the audio book.
Content: some gruesome descriptions of blood from the murder
Recommendation: Ages 14+
Crime and Punishment by Fyodor Dostoevsky. read by Anthony Heald.
Genre: Fiction, classic
Rating: 5
Sin, Sentence, and Salvation
The allegory of Crime and Punishment
Crime and Punishment, one of the more famous works of Fyodor Dostoevsky, is considered โthe first great novel of his mature period,โ (Frank, 1995) and is one of his more famous books, rivaled only by The Brothers Karamazov. What makes Crime and Punishment such a classic? Perhaps because it is a picture of the only classic, and greatest story of all time. Crime and Punishment is an allegory of Salvation.
Self-justified
The main character, Rodion Romanovich Raskolnikov, was a poor student at a university, and was overcome with hate toward an old pawnbroker, and decided to rid the world of her for the greater good of everyone. He believed that she was a โlouse,โ and since everyone would be happier without her, his actions would be justified. He believed that he had broken the letter of the law only, but that it didnโt have any authority over him anyway because it was written by people just as low as himself. He didnโt believe in God, and in prison he was convinced that he didnโt deserve his treatment, and that it was something he simply needed to get over with. He had no higher authority, so he said โmy conscience is at rest.โ This is a picture of man before he is touched by the merciful salvation of Christ.
A Troubled Man
Although Raskolnikov justified his actions in killing the old woman, he still felt an overwhelming sense of guilt and fear over what he did. He worked very hard at keeping it a secret, and at first he thought he could live with the guilt that sat in back of his mind, but he was wrong. Raskolnikov had horrible dreams, was always sick, and one of the other characters noticed that he was constantly โset off by little thingsโ for no apparent reason (though the reader knew that it was only because it reminded him of his crime). This represents a man who knows in his heart that he is a sinner, but who will not turn and repent from his sin.
Unending Love
Sonya Semyonovna Marmeladov was the daughter of a drunkard who โtook the yellow cardโ and prostituted herself to support her family. Throughout the book, Sonya began to love Raskolnikov. Eventually, Raskolnikov told Sonya his secret. Sonya was horrified, but still loved him and forgave him after her initial shock wore off. As Raskolnikov was fighting inside with his conscience and his sins, he repeatedly snapped at her, refused her comfort, yelled at her, and so on. He was a bitter, angry, hateful manโand yet Sonya forgave him for everything he did to her, and everything he had done in his past. What redeeming quality Sonya saw in the wretch and why she forgave him, one cannot begin to comprehend; aside from the simple truth that Sonya was a loving, gentile, merciful girl. She saw that Raskolnikov needed someone to love him and she reached out to him, even when he repeatedly pushed her away. Sonyaโs love for him is a picture of Christโs unending and perfect love to His sinful people.
A Silent Witness
When Raskolnikov finally broke down and confessed his crime, Sonya moved to Siberia with him. Raskolnikov expected this, and knew that telling her not to come would be fruitless. She visited him often in prison and wrote to his family for him. But although Raskolnikov expected her to preach to him and push the Gospel in his face, she did not. Sonya followed the scriptureโs instruction to Christian wives with non-Christian husbands in 1 Peter 3:1โโ Wives, in the same way be submissive to your husbands so that, if any of them do not believe the word, they may be won over without words by the behavior of their wivesโฆโ The verse tells women to be good examples of Christ to their non-Christian husbands rather than to preach to them and try to convert them, and that is exactly what Sonya did, even though she was not married to him. She did not try to convert him with words; rather she won him with her love. She did not push the Testament into Raskolnikovโs hands, he asked for it. When she did bring it, she did not pester him to read it. She had faith, and showed Raskolnikov the love of Christ through her actions. In the end, it paid off. Although Dostoevsky does not specifically say that Raskolnikov was converted, he does imply that he eventually became a Christian when he mused โCan not her own convictions now be mine?โ
The truth will set you free
When Raskolnikov finally realized that he loved Sonya, he accepted that he was a criminal, and a murderer. When he finally accepted that he was a sinner, he repented and had a new life in him. He said he felt like โhe had risen againโ and that Sonya โlived only in his life.โ By life, Dostoevsky refers to his mentality. Before, he had been a living dead man in prison. He was hated by his inmates, was almost killed by them in an outbreak, was unaffected by anything that happened to him or his family, and eventually became ill from it all. But after his resurrection, he repented from his sins, learned to move on with his life, and started to change. He began to converse with his inmates, and they no longer hated him. Sonya was alive in his โlifeโ because of her love for him. When he was changed, she was so happy that she became sick with joy, to the point that she was ill in bed. Dostoevsky paints a picture of a redeemed man at the end of his novelโredeemed both by the law, and by God. This picture symbolizes the miracle of salvation through Christ.
An amazing Allegory
Dostoevsky was a wonderful writer because of his use of dialogue to tell the story, his descriptive scenes, his powerfully developed characters, and their inner dialogue. He often times told you that something was happening by only telling you what the character who was speaking at the time said in response to what was going on. For example, if Sonya was standing up, Dostoevsky would write โโฆ โhey, what do you stand for?โ for Sonya had stood.โ
He also painted such good descriptions of his characters, that by the middle of the book he didnโt have to say that Raskolnikov was musing in the corner of the room, glaring at anyone who was brave enough to look at him, while he stewed in grief under his old ratted cap, because you knew from how well he was described earlier and how well his character was developed from the dialogue, that he was doing exactly that.
His characters are so real, they almost frighten you because you see the things they do and feel and experience reflected in your own life. They are not perfectโin fact they are all incredibly flawed, but they are a joy to read.
His ending is superb, because he closes the story without actually telling you everything. He never says that Raskolnikov was converted, he never says when he got out of prison, and he never says that Sonya and he were married, but you know that it happened. The last scene of the story is so superb, it makes you want to read it again, just to experience the joy all over again.
But what really made Crime and Punishment the classic that it was is the picture of the best story in the world, the classic story of the world, showing through. The story of the Gospel, of Jesus Christโs unending love and sin and salvation is clearly portrayed, and makes a joyous read.
Works cited:
Quotes are from Crime and Punishment by Fyodor Dostoevsky, 1886
Frank, Joseph (1995). Dostoevsky: The Miraculous Years, 1865โ1871. Princeton University Press. ISBN 0-691-01587-2. (source found and taken from Wikipedia.com)
1 Peter 3:1 New International Version of The Holy Bible
Audio review: I had a hard time reading the book, simply because it was so huge that it was intimidating. I bought (ouch) the audio book of Crime and Punishment, recorded by Anthony Heald who did a fantastic job reading. His voices for the characters perfectly matched them, he felt for them, and he acted them. None of them were cheesy (yeah you all know how lame some male readers are at acting female voices). He read fast enough that the story didn't drag at all, but not so fast that you'd feel like you'd miss something if you didn't listen hard. I will definitely re-listen to the audio book.
Content: some gruesome descriptions of blood from the murder
Recommendation: Ages 14+