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Hazel (1853 KP) rated The Festival Shoes in Books
Aug 3, 2017
A literal fairy story
This eBook was provided by the publisher via NetGalley in exchange for an honest review
The Festival Shoes by Tolulope Okudolo is a fairy story (literally) for young children. Although referred to as “pixies,” the illustrations provided by Eric Scott Fisher look like typical western imagery associated with the magical, winged creatures. The main character, Drumlo, is an ebullient pixie who is about to embark on his first trip to Earth in order to deliver a very important gift. With so much relying on his success, it would be absolutely awful if something went wrong.
Weaverton, the name of the land of fairies, is an invisible world that lies above the Earth. Whenever a child has a good thought or does something virtuous, a colourful string, unseen by the human eye, snakes its way up to the hidden land. Collected by pixies, these threads are woven into magnificent presents, which are delivered to the children as rewards on the day of the Great Festival. In order to prove himself as capable, Drumlo has been charged with safely transporting a pair of shoes to a truly deserving girl. With an effulgent thread as a guide, Drumlo sets off on his exciting mission.
The author is the founder of the publishing company Magnifying Children’s Horizons, which aspires to inspire children physically, mentally and spiritually about the natural world. Tolulope Okudolo’s author biography implies she is a Christian and likes to bring this aspect of her life into her writing. Although, as far as we know, fairies and pixies only exist in folklore, Tolulope retains the idea of the existence of God by referring to an unseen High King who lives above Weaverton. In this respect, the Great Festival and gift giving become similar to our Christmas tradition.
The Festival Shoes, however, is not intended to be a Christian book. Its purpose is to enhance children’s creativity and character by showing them the impact of their good and bad behaviour by emphasising the idea of receiving rewards. Whilst Drumlo is on his journey to Earth, he passes through the land where all bad thoughts and actions go. Compared with everywhere else, this place looks dull and gloomy, which goes to show what happens when nature is neglected and not cared for.
Another important message The Festival Shoes shows children is to have faith in themselves to do something for the first time. Drumlo had never been given such responsibility before, but he believed he could do it. Even though something goes wrong, his faith sees him through. He does not give up, everything works out in the end.
Reading the book as an adult, The Festival Shoes is not all that interesting. The ending comes about too quickly and, although the author is trying to emphasise that Drumlo’s faith saves the day, he does not physically do anything to fix what goes wrong – slightly misleading, perhaps?
The coloured illustrations that appear on every other page are pretty but do not help to tell the story. It is not a picture book for very young children; it is the next stage up. With discussion questions at the end of the book, The Festival Shoes is for parents and children to read together and think about their own impact on the world and nature.
Unfortunately, the book does not look professionally produced. The choice of typeface is uninspiring and the illustrations do not always slot into place well, leaving awkward layouts. As an eBook, this does not matter too much, but if it were to be printed, sales are unlikely to rocket.
The Festival Shoes by Tolulope Okudolo is a fairy story (literally) for young children. Although referred to as “pixies,” the illustrations provided by Eric Scott Fisher look like typical western imagery associated with the magical, winged creatures. The main character, Drumlo, is an ebullient pixie who is about to embark on his first trip to Earth in order to deliver a very important gift. With so much relying on his success, it would be absolutely awful if something went wrong.
Weaverton, the name of the land of fairies, is an invisible world that lies above the Earth. Whenever a child has a good thought or does something virtuous, a colourful string, unseen by the human eye, snakes its way up to the hidden land. Collected by pixies, these threads are woven into magnificent presents, which are delivered to the children as rewards on the day of the Great Festival. In order to prove himself as capable, Drumlo has been charged with safely transporting a pair of shoes to a truly deserving girl. With an effulgent thread as a guide, Drumlo sets off on his exciting mission.
The author is the founder of the publishing company Magnifying Children’s Horizons, which aspires to inspire children physically, mentally and spiritually about the natural world. Tolulope Okudolo’s author biography implies she is a Christian and likes to bring this aspect of her life into her writing. Although, as far as we know, fairies and pixies only exist in folklore, Tolulope retains the idea of the existence of God by referring to an unseen High King who lives above Weaverton. In this respect, the Great Festival and gift giving become similar to our Christmas tradition.
The Festival Shoes, however, is not intended to be a Christian book. Its purpose is to enhance children’s creativity and character by showing them the impact of their good and bad behaviour by emphasising the idea of receiving rewards. Whilst Drumlo is on his journey to Earth, he passes through the land where all bad thoughts and actions go. Compared with everywhere else, this place looks dull and gloomy, which goes to show what happens when nature is neglected and not cared for.
Another important message The Festival Shoes shows children is to have faith in themselves to do something for the first time. Drumlo had never been given such responsibility before, but he believed he could do it. Even though something goes wrong, his faith sees him through. He does not give up, everything works out in the end.
Reading the book as an adult, The Festival Shoes is not all that interesting. The ending comes about too quickly and, although the author is trying to emphasise that Drumlo’s faith saves the day, he does not physically do anything to fix what goes wrong – slightly misleading, perhaps?
The coloured illustrations that appear on every other page are pretty but do not help to tell the story. It is not a picture book for very young children; it is the next stage up. With discussion questions at the end of the book, The Festival Shoes is for parents and children to read together and think about their own impact on the world and nature.
Unfortunately, the book does not look professionally produced. The choice of typeface is uninspiring and the illustrations do not always slot into place well, leaving awkward layouts. As an eBook, this does not matter too much, but if it were to be printed, sales are unlikely to rocket.
Haley Mathiot (9 KP) rated Blind Sight in Books
Apr 27, 2018
Thomas lost his family in a terrible accident two years ago. He’s been living as a hermit, rejecting God, ever since. When he starts getting mysterious e-mails and phone messages from some nut saying that he needs him to save his children, Thomas at first doesn’t believe it. But on a whim he goes to the air port. And there are two children there, waiting for him, calling him “uncle Thomas.”
Thomas is dragged (by the hand of God no less) into this insane mission to save these children from a cult, bring them to their mother who has been living undercover for three years, and expose the lies that the cult has been feeding to the world. But how is he going to keep his sanity when every time he sees the kids, he thinks about his own children and his wife who died at what he sees as his own hand? And what about his forsaken relationship with God?
I’m having a very hard time trying to think of words that describe Blind Sight. It is an incredible story about a terrible loss, but more than a loss of family—a loss of a relationship with Christ, but one that is rekindled to an absolute trust in His sovereignty. Blind Sight had my adrenalin racing through all 400-pages, yet parts of it were so peaceful and uplifting that I went back and read them again.
My favorite character was Micah, the little boy. He and Michelle were twins. He was so trusting, so brave, and so fragile. He couldn’t see, so he learned to rely completely on Michelle’s guidance, and had to learn to trust a man he’d never met before (Thomas). My heart ached for him through the story.
On that note, all the characters had some sort of major flaw that made them definite real people. My heart ached (almost physically) for each of them in a different way.
The writing was contemporary prose, easy to read, fluid, but simple. It wasn’t what made the book a 5-star book, but it didn’t take away from the overall enjoyment.
The narration alternated between several different view points, and left you hanging, making it a compelling page-turner. The viewpoints were not confusing, however, because it was all from third-person perspective. Also because each character was so real, so distinct, it was easy to get inside their heads.
Because of the different view points, there were some sections where I was reading what was going on during the cult’s worship service. It was amazing in a repulsive, nerve-wracking way that sent shivers of disgust down my spine. I hated the cult with a passion, and because of that I related to Justine, the mother, very well.
The ending was peculiar. Most books leave you with a satisfied smile on your face. This one, not so much. That satisfied smile comes after you’ve set it down and thought about it for a while—and it does stick with you. Pence doesn’t really “finish” the story in the sense that everything is wrapped up completely. You know what will happen in the future, and because of that he doesn’t have to spell it out for you. Once I sat back and thought about what God had in store for these characters and watched it play out in my head, I grinned. It’s wonderful!
Content: 100% Clean!
Recommendation: Anyone ages 10+ would enjoy this! It would be a wonderful read for a family to share, or for an adult looking for a good clean Christian-thriller, or a teenager with the weekend off of homework.
Thomas is dragged (by the hand of God no less) into this insane mission to save these children from a cult, bring them to their mother who has been living undercover for three years, and expose the lies that the cult has been feeding to the world. But how is he going to keep his sanity when every time he sees the kids, he thinks about his own children and his wife who died at what he sees as his own hand? And what about his forsaken relationship with God?
I’m having a very hard time trying to think of words that describe Blind Sight. It is an incredible story about a terrible loss, but more than a loss of family—a loss of a relationship with Christ, but one that is rekindled to an absolute trust in His sovereignty. Blind Sight had my adrenalin racing through all 400-pages, yet parts of it were so peaceful and uplifting that I went back and read them again.
My favorite character was Micah, the little boy. He and Michelle were twins. He was so trusting, so brave, and so fragile. He couldn’t see, so he learned to rely completely on Michelle’s guidance, and had to learn to trust a man he’d never met before (Thomas). My heart ached for him through the story.
On that note, all the characters had some sort of major flaw that made them definite real people. My heart ached (almost physically) for each of them in a different way.
The writing was contemporary prose, easy to read, fluid, but simple. It wasn’t what made the book a 5-star book, but it didn’t take away from the overall enjoyment.
The narration alternated between several different view points, and left you hanging, making it a compelling page-turner. The viewpoints were not confusing, however, because it was all from third-person perspective. Also because each character was so real, so distinct, it was easy to get inside their heads.
Because of the different view points, there were some sections where I was reading what was going on during the cult’s worship service. It was amazing in a repulsive, nerve-wracking way that sent shivers of disgust down my spine. I hated the cult with a passion, and because of that I related to Justine, the mother, very well.
The ending was peculiar. Most books leave you with a satisfied smile on your face. This one, not so much. That satisfied smile comes after you’ve set it down and thought about it for a while—and it does stick with you. Pence doesn’t really “finish” the story in the sense that everything is wrapped up completely. You know what will happen in the future, and because of that he doesn’t have to spell it out for you. Once I sat back and thought about what God had in store for these characters and watched it play out in my head, I grinned. It’s wonderful!
Content: 100% Clean!
Recommendation: Anyone ages 10+ would enjoy this! It would be a wonderful read for a family to share, or for an adult looking for a good clean Christian-thriller, or a teenager with the weekend off of homework.
Goddess in the Stacks (553 KP) rated Alanna: The First Adventure in Books
Apr 16, 2018
The Song of the Lioness quartet is Tamora Pierce's first set of books. I read her latest trilogy (the Beka Cooper trilogy) first, which didn't exactly prepare me for The Song of the Lioness. It's obvious, going from the latest trilogy to her first writing, how much her writing has matured since the 80s. My first thought upon completing Alanna: the First Adventure was "I'm very glad she's gotten better at writing!" The story itself is still interesting and worth reading, but the style is a little difficult to read when I KNOW how well she writes now. The characters are mostly one-dimensional; few of the side characters seem to have plots going or events happening to them when they're not with Alanna. Characters pop up, have a significant interaction with Alanna, and are gone again, with no indication they exist outside of their usefulness to the main character. This is in stark contrast to her latest work, where every character that has a significant role to play has a history of their own, and thoughts and feelings of their own. They're much more fleshed out in her recent books.
That complaint aside, the Alanna books are really the foundation that the rest of Tortall was built upon. It's interesting to see how Pierce has fleshed out some of the concepts she touched on in the Alanna saga, and it's fun to see where some of the things from the Beka Cooper trilogy originated. It also pays to keep in mind that though the Alanna books were written first, the Beka Cooper trilogy is based two hundred years earlier. We learn a lot more about the office of The Rogue in the Beka Cooper trilogy, something that isn't explained very well in the Alanna quartet, even though one of Alanna's main romantic interests is George Cooper (yes, a descendant of Beka!), the Rogue. Pierce also never explains the origins of Alanna's cat, Faithful, in the actual Alanna books. That explanation lies in the Beka Cooper books as well.
The Song of the Lioness quartet is the story of a girl who decides to rebel against tradition and follow her heart to become a knight. In her time, ladies simply do NOT become knights. They learn to organize households and marry well. Alanna, however, is lucky enough to have a twin brother who does not want to become a knight; instead Thom wants to be a mage. So when they're sent off to face their futures, they switch places, with Alanna becoming "Alan", the younger twin. (Thom stays Thom; the school that ladies are sent to is the same school mages start at.)
Alan/Alanna begins as a page, then moves to squire, and eventually a knight. Her secret is discovered, but due to her influential friends, most of whom knew she was a girl by then, she is able to keep her status. Her adventures take her from uncovering a plot against the royal family, to being adopted by a desert tribe, to recovering a magic jewel of prosperity, with many small adventures in between.
I love reading Pierce's heroines; both Alanna and Beka have problems reconciling their feminine natures with the work they've chosen. The scenes where Alanna's love interests see her in a dress for the first time, instead of her normal boy-garb and armor, is heart-warming in one case, and sad in another. In both womens' lives it's the man who can accept all of their aspects who ultimately wins their heart, which is a wonderful message.
Ultimately, the technical flaws in the writing of the Alanna saga faded as I became absorbed in the story. I'll be requesting more Tortall books from the library in the near future!
You can find all my reviews at http://goddessinthestacks.wordpress.com
That complaint aside, the Alanna books are really the foundation that the rest of Tortall was built upon. It's interesting to see how Pierce has fleshed out some of the concepts she touched on in the Alanna saga, and it's fun to see where some of the things from the Beka Cooper trilogy originated. It also pays to keep in mind that though the Alanna books were written first, the Beka Cooper trilogy is based two hundred years earlier. We learn a lot more about the office of The Rogue in the Beka Cooper trilogy, something that isn't explained very well in the Alanna quartet, even though one of Alanna's main romantic interests is George Cooper (yes, a descendant of Beka!), the Rogue. Pierce also never explains the origins of Alanna's cat, Faithful, in the actual Alanna books. That explanation lies in the Beka Cooper books as well.
The Song of the Lioness quartet is the story of a girl who decides to rebel against tradition and follow her heart to become a knight. In her time, ladies simply do NOT become knights. They learn to organize households and marry well. Alanna, however, is lucky enough to have a twin brother who does not want to become a knight; instead Thom wants to be a mage. So when they're sent off to face their futures, they switch places, with Alanna becoming "Alan", the younger twin. (Thom stays Thom; the school that ladies are sent to is the same school mages start at.)
Alan/Alanna begins as a page, then moves to squire, and eventually a knight. Her secret is discovered, but due to her influential friends, most of whom knew she was a girl by then, she is able to keep her status. Her adventures take her from uncovering a plot against the royal family, to being adopted by a desert tribe, to recovering a magic jewel of prosperity, with many small adventures in between.
I love reading Pierce's heroines; both Alanna and Beka have problems reconciling their feminine natures with the work they've chosen. The scenes where Alanna's love interests see her in a dress for the first time, instead of her normal boy-garb and armor, is heart-warming in one case, and sad in another. In both womens' lives it's the man who can accept all of their aspects who ultimately wins their heart, which is a wonderful message.
Ultimately, the technical flaws in the writing of the Alanna saga faded as I became absorbed in the story. I'll be requesting more Tortall books from the library in the near future!
You can find all my reviews at http://goddessinthestacks.wordpress.com
RəX Regent (349 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Feb 20, 2019
This is not the first Star Wars spin-off, but it is joining a legacy of sub par entries to the franchise, certainly as where the big screen has been concerned, with two Ewoks movies and The Clone Wars TV pilot come movie to contend with. But Rogue One is first to take on the mantle of a blockbuster and attempt to compete with the very best of the Saga, if not join them.
In many ways, Rogue One is the prequel that we have been waiting for, taking place directly before the original movie, A New Hope, Gareth Edwards of Monsters (2010) and Godzilla fame, has managed to create a fan boy's dream following the events which are mentioned in the opening crawl for that classic movie, the theft of the Death Star plans which would ultimately lead to Luke Skywalker's "shot in a million" to destroy the moon sized planet killer.
But here, the task was to both take Star Wars in new new direction as well as to flesh out the story of the Star Wars saga itself. They manage to pull this off with the only real complaint being the pacing which is sporadic at best. With a combination of contrived plotting and uneven pacing, the starker, war movie which this is, can feel at times, like a check list of everything that fans have wanted to see on the big screen since 1983 and as such, runs the risk of being a vacuous, through-away movie, the "greatest hits" as it were.
But I feel that it skirts this issue and manages to stay on the side of narrative integrity, just about. We finally see Darth Vader, post Episode III for the first time in a life action film since 2005, something which the prequels failed to deliver and whilst at first it seemed to be a crowd pleasing cameo, by the finale, it paid off perfectly, as did the resurrection of the late Peter Cushing's Grand Moff Tarkin, with the aid of ground breaking, if not morally questionable CGI effects. This was also used to bring us a cameo from Princess Laia (1977) to great effect.
Also, integrating stock footage of the original Red and Gold Squadron pilots from Star Wars (1977) and the demise of the original Red 5, who's place Luke Skywalker would assume, were all nice touches.
In the end, at best Rogue One serves to turn the original Star Wars movie into and two part epic, with this movie seamlessly leading into the opening of Star Wars but how does it hold up in its own right?
Well, it is entertaining, well acted, if not let down by Gareth Edwards' slightly uneven direction, but how the notorious re-shoots, which have clearly left several key shots form the trailers on the cutting room floor and possibly changes the finale significantly, effected this is as yet unknown, and Michael Giacchino's slightly over the top bombastic score, Rogue One will certainly be an entertaining and action packed entry into the Star Wars universe.
But the true success of this film lies with its expansion of the Saga as a whole, bridging the less popular prequels with the original trilogy for the first time on the big screen, taking on finally, what J.J. Abrams' The Force Awakens (2015) deliberately chose not too. Hopefully Episode VIII (2017) follow in the same vein, finally repairing some of the issues which Lucas' much derided prequels, which at their heart, may have had much more to offer than Lucas' poor direction let us see the first time around.
In many ways, Rogue One is the prequel that we have been waiting for, taking place directly before the original movie, A New Hope, Gareth Edwards of Monsters (2010) and Godzilla fame, has managed to create a fan boy's dream following the events which are mentioned in the opening crawl for that classic movie, the theft of the Death Star plans which would ultimately lead to Luke Skywalker's "shot in a million" to destroy the moon sized planet killer.
But here, the task was to both take Star Wars in new new direction as well as to flesh out the story of the Star Wars saga itself. They manage to pull this off with the only real complaint being the pacing which is sporadic at best. With a combination of contrived plotting and uneven pacing, the starker, war movie which this is, can feel at times, like a check list of everything that fans have wanted to see on the big screen since 1983 and as such, runs the risk of being a vacuous, through-away movie, the "greatest hits" as it were.
But I feel that it skirts this issue and manages to stay on the side of narrative integrity, just about. We finally see Darth Vader, post Episode III for the first time in a life action film since 2005, something which the prequels failed to deliver and whilst at first it seemed to be a crowd pleasing cameo, by the finale, it paid off perfectly, as did the resurrection of the late Peter Cushing's Grand Moff Tarkin, with the aid of ground breaking, if not morally questionable CGI effects. This was also used to bring us a cameo from Princess Laia (1977) to great effect.
Also, integrating stock footage of the original Red and Gold Squadron pilots from Star Wars (1977) and the demise of the original Red 5, who's place Luke Skywalker would assume, were all nice touches.
In the end, at best Rogue One serves to turn the original Star Wars movie into and two part epic, with this movie seamlessly leading into the opening of Star Wars but how does it hold up in its own right?
Well, it is entertaining, well acted, if not let down by Gareth Edwards' slightly uneven direction, but how the notorious re-shoots, which have clearly left several key shots form the trailers on the cutting room floor and possibly changes the finale significantly, effected this is as yet unknown, and Michael Giacchino's slightly over the top bombastic score, Rogue One will certainly be an entertaining and action packed entry into the Star Wars universe.
But the true success of this film lies with its expansion of the Saga as a whole, bridging the less popular prequels with the original trilogy for the first time on the big screen, taking on finally, what J.J. Abrams' The Force Awakens (2015) deliberately chose not too. Hopefully Episode VIII (2017) follow in the same vein, finally repairing some of the issues which Lucas' much derided prequels, which at their heart, may have had much more to offer than Lucas' poor direction let us see the first time around.
Movie Metropolis (309 KP) rated X-Men: Days of Future Past (2014) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
More DC than Marvel
Bryan Singer’s return to the X-Men franchise comes at the perfect time both for the series and its director.
After last year’s poorly executed Jack the Giant Slayer, Singer needed to come back to home turf and after a string of irritating X-Men films, including the entertaining but soulless X-Men: The Last Stand and the downright offensive Wolverine origins story, it seems the superhero series needed to do the same.
But can a re-partnering 11 years after the brilliant X2 restore the magic of one of Marvel’s best comics?
Partially is the answer here. Singer restores the cinematic flair and sparkle of the series and brings back a lot of old faces but forgets a lot of the fun in the process.
x-men-days-of-future-past-character-poster-01.jpgDays of Future Past is set in a dystopian future as a war between mutants and humans continues to rage. Charles Xavier (Patrick Stewart), Magneto (Ian McKellen), Storm (Halle Berry) and many other fan favourites return to the series after being absent for some time. We follow these characters as they try to escape the sentinels; an army of robots impressively rendered in CGI designed to kill any mutant on sight, friend or foe.
The only way to stop the war is to send a mutant back to 1973 when the sentinel program was put in motion. Unfortunately, Hugh Jackman’s Wolverine is the chosen one and remains the lead character throughout the film.
Back in 1973, the mutants from X-Men First Class are blissfully unaware of what lies in store for them, though they still have their own personal battles to deal with.
As the film progresses, it becomes painfully obvious that this is very much a “First Class” era film. James McAvoy’s impressive take on the young Charles Xavier returns, as does Michael Fassbender’s Magneto.
However, only Jennifer Lawrence’s Mystique makes a lasting impact amongst the 1973 era mutants. You can see the pain and torment etched onto her face throughout theJennifer-Lawrence-mystique film and as in The Hunger Games she steals focus from everyone around her. Game of Thrones’ Peter Dinklage also joins the cast as the film’s primary antagonist Bolivar Trask and is a real joy to watch. His character is understated in every way, but he remains an iconic presence throughout.
However, as impressive as the set pieces and acting performances are, it is in the future where we wish to see more. The ‘classic’ characters are barely given any screen time which is a real shame and the real mutant cost of the war is glossed over entirely. The special effects are genuinely very good. Each of the action sequences is well choreographed and the CGI is great, especially the rendering on the future sentinels which can adapt to seek a mutant’s power – no matter what it is.
Unfortunately, the fun factor is completely lost as Singer ramps up the tension and the death toll. In fact, only one character provides the humour and that is Evan Peters’ portrayal of Quicksilver who is only on screen for 15 minutes.
Overall, X-Men: Days of Future Past is definitely the best film of the series and thankfully does away with the atrocities that have been committed previously in the franchise. However, it feels like Singer was trying so hard to repair his predecessor’s mistakes, he forgot some of the key elements of a Marvel superhero film in the process – this is more DC than Marvel.
https://moviemetropolis.net/2014/06/01/x-men-days-of-future-past-review/
After last year’s poorly executed Jack the Giant Slayer, Singer needed to come back to home turf and after a string of irritating X-Men films, including the entertaining but soulless X-Men: The Last Stand and the downright offensive Wolverine origins story, it seems the superhero series needed to do the same.
But can a re-partnering 11 years after the brilliant X2 restore the magic of one of Marvel’s best comics?
Partially is the answer here. Singer restores the cinematic flair and sparkle of the series and brings back a lot of old faces but forgets a lot of the fun in the process.
x-men-days-of-future-past-character-poster-01.jpgDays of Future Past is set in a dystopian future as a war between mutants and humans continues to rage. Charles Xavier (Patrick Stewart), Magneto (Ian McKellen), Storm (Halle Berry) and many other fan favourites return to the series after being absent for some time. We follow these characters as they try to escape the sentinels; an army of robots impressively rendered in CGI designed to kill any mutant on sight, friend or foe.
The only way to stop the war is to send a mutant back to 1973 when the sentinel program was put in motion. Unfortunately, Hugh Jackman’s Wolverine is the chosen one and remains the lead character throughout the film.
Back in 1973, the mutants from X-Men First Class are blissfully unaware of what lies in store for them, though they still have their own personal battles to deal with.
As the film progresses, it becomes painfully obvious that this is very much a “First Class” era film. James McAvoy’s impressive take on the young Charles Xavier returns, as does Michael Fassbender’s Magneto.
However, only Jennifer Lawrence’s Mystique makes a lasting impact amongst the 1973 era mutants. You can see the pain and torment etched onto her face throughout theJennifer-Lawrence-mystique film and as in The Hunger Games she steals focus from everyone around her. Game of Thrones’ Peter Dinklage also joins the cast as the film’s primary antagonist Bolivar Trask and is a real joy to watch. His character is understated in every way, but he remains an iconic presence throughout.
However, as impressive as the set pieces and acting performances are, it is in the future where we wish to see more. The ‘classic’ characters are barely given any screen time which is a real shame and the real mutant cost of the war is glossed over entirely. The special effects are genuinely very good. Each of the action sequences is well choreographed and the CGI is great, especially the rendering on the future sentinels which can adapt to seek a mutant’s power – no matter what it is.
Unfortunately, the fun factor is completely lost as Singer ramps up the tension and the death toll. In fact, only one character provides the humour and that is Evan Peters’ portrayal of Quicksilver who is only on screen for 15 minutes.
Overall, X-Men: Days of Future Past is definitely the best film of the series and thankfully does away with the atrocities that have been committed previously in the franchise. However, it feels like Singer was trying so hard to repair his predecessor’s mistakes, he forgot some of the key elements of a Marvel superhero film in the process – this is more DC than Marvel.
https://moviemetropolis.net/2014/06/01/x-men-days-of-future-past-review/
Movie Metropolis (309 KP) rated Transformers: The Last Knight (2017) in Movies
Jun 10, 2019
Has anyone got an aspirin?
Shhh! Don’t tell anyone I told you this but I’m a little bit of a Transformers fanboy. As a child I had many of the series’ toys and adored the animated series. Heck, I even have an Optimus Prime bobblehead next to my bed.
So when director Michael Bay announced in 2005 that he was planning a Transformers live-action movie with Steven Spielberg as producer, my heart skipped a beat. 2007 came and the film was everything I wanted.
Fast forward ten years and the series has, rightly or wrongly, become a laughing stock for critics the world over. Derided for nonsensical plots, messy special effects and in some cases racism, it’s been regarded as one of the worst film franchises of all time. Does the fifth entry in the franchise, The Last Knight redeem the series somewhat?
Humans are at war with the Transformers and Optimus Prime (Peter Cullen) has disappeared. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth. Now, it’s up to the alliance of Cade Yeager (Mark Wahlberg), Bumblebee, a Lord (Sir Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the planet.
Michael Bay’s swansong is definitely the best of the series since the 2007 original, but suffers from all the problems of its 3 sequels.
On a budget of $260million, there was no doubt The Last Knight would look spectacular, but things really have stepped up a gear. The CGI is some of the best put to film and makes the uncharacteristically sloppy special effects of Age of Extinction look incredibly dated.
The Transformers themselves all look great with Bumblebee in particular taking on the role of “lead bot”. Newcomer Squeeks is sure to become the BB-8 of the franchise and is predictably adorable despite his limited screen-time.
Of the cast, it’s a story of same old. The voice acting on all the Transformers is good with a disappointingly underused Peter Cullen stealing the show once again. Mark Wahlberg is permanently likeable and it’s always a pleasure having John Turturro’s Agent Simmons returning to the screen. Laura Haddock is the typical Michael Bay choice of female lead, channelling Megan Fox, Rosie Huntington-Whitely and Nicola Peltz.
However, Sir Anthony Hopkins is where this film raises itself above the parapet. The veteran actor is really exceptional and brightens the movie in every single scene he appears in. You can tell he’s not taking it too seriously, and that is exactly the point of this series.
Sure, the plot is a hot steaming mess of nonsensical dialogue with loose strands of story, and at 149 minutes it’s a good half hour too long, but with all the fear and hate in real life, sometimes it’s nice to switch your brain off and escape to a world where robots exist – and there’s nothing wrong with that.
Michael Bay may not be the subtlest of directors. Give him a classy love story and he’ll turn it into Fifty Shades of Grey, but he’s clearly a very clever man. The critics have savaged this franchise but audiences keep coming back for more and who can blame them?
If this is, as has been said by the man himself, Michael Bay’s last entry into the Transformers canon, then it’s not a bad film to leave on whatsoever.
You know the score by now. Don’t go in expecting Shakespeare or Oscar-winning performances and you’ll be fine. Just make sure you take some paracetamol; crikey it’s loud.
https://moviemetropolis.net/2017/06/24/transformers-the-last-knight-review/
So when director Michael Bay announced in 2005 that he was planning a Transformers live-action movie with Steven Spielberg as producer, my heart skipped a beat. 2007 came and the film was everything I wanted.
Fast forward ten years and the series has, rightly or wrongly, become a laughing stock for critics the world over. Derided for nonsensical plots, messy special effects and in some cases racism, it’s been regarded as one of the worst film franchises of all time. Does the fifth entry in the franchise, The Last Knight redeem the series somewhat?
Humans are at war with the Transformers and Optimus Prime (Peter Cullen) has disappeared. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth. Now, it’s up to the alliance of Cade Yeager (Mark Wahlberg), Bumblebee, a Lord (Sir Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the planet.
Michael Bay’s swansong is definitely the best of the series since the 2007 original, but suffers from all the problems of its 3 sequels.
On a budget of $260million, there was no doubt The Last Knight would look spectacular, but things really have stepped up a gear. The CGI is some of the best put to film and makes the uncharacteristically sloppy special effects of Age of Extinction look incredibly dated.
The Transformers themselves all look great with Bumblebee in particular taking on the role of “lead bot”. Newcomer Squeeks is sure to become the BB-8 of the franchise and is predictably adorable despite his limited screen-time.
Of the cast, it’s a story of same old. The voice acting on all the Transformers is good with a disappointingly underused Peter Cullen stealing the show once again. Mark Wahlberg is permanently likeable and it’s always a pleasure having John Turturro’s Agent Simmons returning to the screen. Laura Haddock is the typical Michael Bay choice of female lead, channelling Megan Fox, Rosie Huntington-Whitely and Nicola Peltz.
However, Sir Anthony Hopkins is where this film raises itself above the parapet. The veteran actor is really exceptional and brightens the movie in every single scene he appears in. You can tell he’s not taking it too seriously, and that is exactly the point of this series.
Sure, the plot is a hot steaming mess of nonsensical dialogue with loose strands of story, and at 149 minutes it’s a good half hour too long, but with all the fear and hate in real life, sometimes it’s nice to switch your brain off and escape to a world where robots exist – and there’s nothing wrong with that.
Michael Bay may not be the subtlest of directors. Give him a classy love story and he’ll turn it into Fifty Shades of Grey, but he’s clearly a very clever man. The critics have savaged this franchise but audiences keep coming back for more and who can blame them?
If this is, as has been said by the man himself, Michael Bay’s last entry into the Transformers canon, then it’s not a bad film to leave on whatsoever.
You know the score by now. Don’t go in expecting Shakespeare or Oscar-winning performances and you’ll be fine. Just make sure you take some paracetamol; crikey it’s loud.
https://moviemetropolis.net/2017/06/24/transformers-the-last-knight-review/
Kara Skinner (332 KP) rated Of Mice Not Men in Books
Jun 12, 2019
Genre: Science Fiction, Non-Romance
Page Count: 350 pages
Average Goodreads Rating: 4.75 out of 5 stars
My rating: 3 out of 5 stars
After manmade natural disasters wiped out most humans and life around the world, war breaks out among the remaining humans. The faction called the Developers want to take the resources from Earth and leave the dying planet behind to join the stars. The Harmonizers want to stay and restore Earth’s resources. Both factions race to stop the other, using deadly, even sadistic measures. After all, the fate of the planet and the human race lies in the balance.
I had my ups and downs with this book to be sure. Aside from the book badly needing a proofreader, the writing itself is well done, only dipping into preachiness about human’s greed a couple of times. The brain curdling torture scenes were deliciously awful and made me stop reading a couple times to look up pictures of pet pigs until I calmed down enough to continue.
I thought I had a stomach for violence. I read Stephen King books and have watched plenty of horror movies. In middle school I reveled in shocking my classmates with presentations of General Sherman’s March to the Sea and torture practices from the Spanish Inquisition. In high school I was the only one who could watch the video of a shark eating a turtle without looking away ( but I ended up crying about shark fin soup later that year).
The point is, violence in books usually doesn’t bother me. But Canterbury takes it to a whole new level in a few of the torture scenes. It wasn’t just the twisted sadism in the scenes that bothered me, however. It was the fact that both sides are tooth achingly aware of the finite resources left and yet they both spend resources making inefficient weapons. The Developers do it in the name of sadism and the Harmonizers end up with weapons that are less effective than gun powder guns. I guess it shows that humans don’t make sense.
There are a lot of characters in this book, but Jasmine is the main character. I didn’t like her at first. I found her too cold-hearted and hot-headed. Granted, she’s in deeper and darker shit than I’ve ever seen in my lifetime, but despite her parents dying, she isn’t a sympathetic character for most of the book. Her relationship with Thomas feels as forced as a cheap jigsaw puzzle. Mostly she is indifferent to him or pushing him away. For awhile the only reason she was still with him was out of fear of being alone. And then suddenly she loves him? I never really bought it. Cynthia’s relationship with an alien artificial intelligence robot feels more real and she thought she was hallucinating it.
But I ended up really liking Jasmine in the end, and even Thomas. The plot was fascinating, even a couple of parts I was skeptical about at first and this book turned out to be entertaining, even though I guessed two of the biggest plot “twists” (if you can even call them that) as soon as the foreshadowing again. But one plot twist I didn’t see coming at all, which was great.
I do wish the sides were not so black and white. The Developers were clearly evil with practically no human sides in any main characters while the Harmonizers were clearly peaceful with no dark streaks to be found. It ended up making what could have been a great story about needless conflict and saving the world sound a little like anti space exploration propaganda. That being said, it is still entertaining.
While Canterbury’s writing skills are rough, he has the potential to be a great science fiction/horror writer.
Page Count: 350 pages
Average Goodreads Rating: 4.75 out of 5 stars
My rating: 3 out of 5 stars
After manmade natural disasters wiped out most humans and life around the world, war breaks out among the remaining humans. The faction called the Developers want to take the resources from Earth and leave the dying planet behind to join the stars. The Harmonizers want to stay and restore Earth’s resources. Both factions race to stop the other, using deadly, even sadistic measures. After all, the fate of the planet and the human race lies in the balance.
I had my ups and downs with this book to be sure. Aside from the book badly needing a proofreader, the writing itself is well done, only dipping into preachiness about human’s greed a couple of times. The brain curdling torture scenes were deliciously awful and made me stop reading a couple times to look up pictures of pet pigs until I calmed down enough to continue.
I thought I had a stomach for violence. I read Stephen King books and have watched plenty of horror movies. In middle school I reveled in shocking my classmates with presentations of General Sherman’s March to the Sea and torture practices from the Spanish Inquisition. In high school I was the only one who could watch the video of a shark eating a turtle without looking away ( but I ended up crying about shark fin soup later that year).
The point is, violence in books usually doesn’t bother me. But Canterbury takes it to a whole new level in a few of the torture scenes. It wasn’t just the twisted sadism in the scenes that bothered me, however. It was the fact that both sides are tooth achingly aware of the finite resources left and yet they both spend resources making inefficient weapons. The Developers do it in the name of sadism and the Harmonizers end up with weapons that are less effective than gun powder guns. I guess it shows that humans don’t make sense.
There are a lot of characters in this book, but Jasmine is the main character. I didn’t like her at first. I found her too cold-hearted and hot-headed. Granted, she’s in deeper and darker shit than I’ve ever seen in my lifetime, but despite her parents dying, she isn’t a sympathetic character for most of the book. Her relationship with Thomas feels as forced as a cheap jigsaw puzzle. Mostly she is indifferent to him or pushing him away. For awhile the only reason she was still with him was out of fear of being alone. And then suddenly she loves him? I never really bought it. Cynthia’s relationship with an alien artificial intelligence robot feels more real and she thought she was hallucinating it.
But I ended up really liking Jasmine in the end, and even Thomas. The plot was fascinating, even a couple of parts I was skeptical about at first and this book turned out to be entertaining, even though I guessed two of the biggest plot “twists” (if you can even call them that) as soon as the foreshadowing again. But one plot twist I didn’t see coming at all, which was great.
I do wish the sides were not so black and white. The Developers were clearly evil with practically no human sides in any main characters while the Harmonizers were clearly peaceful with no dark streaks to be found. It ended up making what could have been a great story about needless conflict and saving the world sound a little like anti space exploration propaganda. That being said, it is still entertaining.
While Canterbury’s writing skills are rough, he has the potential to be a great science fiction/horror writer.
Purple Phoenix Games (2266 KP) rated Kingdomino in Tabletop Games
Jun 12, 2019
So I am building a kingdom with these land pieces and I can just make my kingdom look however I want? Oh, I have to stay within a 5×5 square but my castle can go anywhere? And I can pick any one of those tiles in that column there? That sounds easy. Wait, that’s all? That’s the entire game?
DISCLAIMER: This review is focused on vanilla Kingdomino. We have the Age of Giants expansion and will be reviewing that as well. Maybe. If or when we do we will add that content to this review or link to it here. -T
Yep. That’s the entire game. On your turn you take the tile your meeple is currently sitting on and place it on another tile from the current offer column. That new tile will be your tile to be placed during the next round. Now you take the tile you just moved from and place it anywhere on your kingdom “grid” matching up similar land types if you can. Each crown icon shown in a land type will score 1 VP per land tile that is connected and matching. Example: you have a sand tile with two crowns on it. You have connected several tiles together and you have a connected sand area of seven squares showing sand. Two crowns times seven squares equals 14 VPs for that sand area. Just do that for all areas with crowns to get your final score.
Where is the conflict, you ask? Every good story has a conflict! Well, you cannot take just ANY tile you want. The tiles are placed in the offer column in numeric order (on the backs of the tiles are numbers). Then they are flipped so you can see what is coming up on the next round. Whomever chooses the lowest number tile goes first, and subsequently chooses their tile for the next round. Herein lies the conflict and what little player interaction there is in the game: you can block your opponent(s) by taking the tiles you see they may want. I personally do not play any games this way, but it’s a valid strategy. I am in it to win it, not in it to make you lose it.
Ok, so at first glance this is a children’s game. It can also be a hard sell to get people to want to play it. “It’s like Dominoes, but better.” That usually doesn’t spark a whole lot of energy and interest when I open with that. I am open to better sales pitches because this is a truly great game. Yes, it’s ultimately Dominoes at its heart. Yes, it’s very light. But dang it, this game is really fun!
The little cardboard castles that you build around are cute, but also kinda unnecessary. The meeples are, well, meeples. Not really too exciting to look at, but they are merely there to show player color. The domino tiles are a good thickness and the art is fun and whimsical. I LIKE looking at the tiles and sometimes finding a little hidden easter egg in there. I have no complaints about the components. Good on you, Blue Orange Games.
The game play is so simple but also so engaging! My mother, who usually only plays Rummikub, actually agreed to play this with me and she really really enjoyed it! Kids can play it and do really well. Older adults can too! It’s a great game to consider for gateway gaming, for a filler palate cleanser, or even for lighthearted tournament play. It just works well in so many scenarios. Is it my favorite game of all time? No. Is it in my Top 10? No. But I can guarantee you that I will never get rid of this little gem.
That said, Purple Phoenix Games gives this title a royal 14 / 18. Build on, Kingdomino!
https://purplephoenixgames.wordpress.com/2019/02/27/kingdomino-review/
DISCLAIMER: This review is focused on vanilla Kingdomino. We have the Age of Giants expansion and will be reviewing that as well. Maybe. If or when we do we will add that content to this review or link to it here. -T
Yep. That’s the entire game. On your turn you take the tile your meeple is currently sitting on and place it on another tile from the current offer column. That new tile will be your tile to be placed during the next round. Now you take the tile you just moved from and place it anywhere on your kingdom “grid” matching up similar land types if you can. Each crown icon shown in a land type will score 1 VP per land tile that is connected and matching. Example: you have a sand tile with two crowns on it. You have connected several tiles together and you have a connected sand area of seven squares showing sand. Two crowns times seven squares equals 14 VPs for that sand area. Just do that for all areas with crowns to get your final score.
Where is the conflict, you ask? Every good story has a conflict! Well, you cannot take just ANY tile you want. The tiles are placed in the offer column in numeric order (on the backs of the tiles are numbers). Then they are flipped so you can see what is coming up on the next round. Whomever chooses the lowest number tile goes first, and subsequently chooses their tile for the next round. Herein lies the conflict and what little player interaction there is in the game: you can block your opponent(s) by taking the tiles you see they may want. I personally do not play any games this way, but it’s a valid strategy. I am in it to win it, not in it to make you lose it.
Ok, so at first glance this is a children’s game. It can also be a hard sell to get people to want to play it. “It’s like Dominoes, but better.” That usually doesn’t spark a whole lot of energy and interest when I open with that. I am open to better sales pitches because this is a truly great game. Yes, it’s ultimately Dominoes at its heart. Yes, it’s very light. But dang it, this game is really fun!
The little cardboard castles that you build around are cute, but also kinda unnecessary. The meeples are, well, meeples. Not really too exciting to look at, but they are merely there to show player color. The domino tiles are a good thickness and the art is fun and whimsical. I LIKE looking at the tiles and sometimes finding a little hidden easter egg in there. I have no complaints about the components. Good on you, Blue Orange Games.
The game play is so simple but also so engaging! My mother, who usually only plays Rummikub, actually agreed to play this with me and she really really enjoyed it! Kids can play it and do really well. Older adults can too! It’s a great game to consider for gateway gaming, for a filler palate cleanser, or even for lighthearted tournament play. It just works well in so many scenarios. Is it my favorite game of all time? No. Is it in my Top 10? No. But I can guarantee you that I will never get rid of this little gem.
That said, Purple Phoenix Games gives this title a royal 14 / 18. Build on, Kingdomino!
https://purplephoenixgames.wordpress.com/2019/02/27/kingdomino-review/
ArecRain (8 KP) rated Goddess of Yesterday in Books
Jan 18, 2018
First off, I should say that I absolutely love Greek mythology. I do not consider myself sufficiently schooled in the subject, but it is a passion of mine. I do not, however, like reading about the Trojan War. Therefore, I was a bit iffy when I request this book from book swap on goodreads.com . After reading it, I was pleased that the novel barely touched on the war.
There are so many thing that I love about this book that I dont know if I can even fit it all into one review. I normally do not like narratives, but I think this novel wouldnt have been the same if it hadnt been. When it first starts, the main character, Anaxandra, is only 5 years old and , thus, narrates through the eyes of a five year old (who knows how to express herself very well ). As the story progresses and Anaxandra grows older, the way she thinks and talks also evolves. You almost feel as if you grow with her, learning the things that she does and experiencing what she does with such clarity.
From page one, the plot unfolds, another thing I adore about any book. There is no excessive detail or long drawn out explanations of anything. Cooney wastes no time with excessive writing when she can sufficiently say it in a few sentences. Something I thought was very realistic considering the narrator. It almost reads like a stream on consciousness. It isnt staccato and rough like Hemingways writing, reading smoothing while still sounding like what is going through a young girl's mind during the time.
The plot actually wasnt too complicated. A young girl is given to a king as a companion for his daughter. Their village is sacked when she is older and she lies to Menalaus to save herself and thus becomes a companion for his young daughter. Helen meets Paris, and the rest is history. It sounds simple enough, but every page had something on it that progressed the storyline. It seemed that something was always happening.
Cooney's Helen of Troy had me clutching my book firmly in my claws, trying not to through it across the room in rage. I always picture Helen of Troy as a narcisstic woman who should have been put in her place. Cooney portrayed just that: a woman so caught in her own supposed birthright, beauty, and self bestowed power that, at time, Helen acted as if she was a goddess herself. She had accepted her life but was bored with it. It wasn't until someone as equally gorgeous and captivating as her came along, Paris, did she gain the courage to finally defy her husband.
I equally agreed with Cooney's portrayal of Paris. The young prince, who was also known to be quite the stud of his time, just bragged about his conquests and skills, of which, in truth, he had none.
What is not to love about two people wrapped up in themselves actually falling in love with each other? I wondered if they were only in love with the idea of them having a mate that compared to their unsurpassable looks.
All in all, there were far to many things in this novel that made me place it back on my shelf instead of donating it once I had finished. It lacks a certain maturity that I had grown use to from the other novels I have been reading as of late, but considering it is a young adult novel, I think Cooney can be forgiven for such a triviality.
If you like fiction about ancient Greece and Greek Mythology, I whole-heartedly recommend this little gem.
There are so many thing that I love about this book that I dont know if I can even fit it all into one review. I normally do not like narratives, but I think this novel wouldnt have been the same if it hadnt been. When it first starts, the main character, Anaxandra, is only 5 years old and , thus, narrates through the eyes of a five year old (who knows how to express herself very well ). As the story progresses and Anaxandra grows older, the way she thinks and talks also evolves. You almost feel as if you grow with her, learning the things that she does and experiencing what she does with such clarity.
From page one, the plot unfolds, another thing I adore about any book. There is no excessive detail or long drawn out explanations of anything. Cooney wastes no time with excessive writing when she can sufficiently say it in a few sentences. Something I thought was very realistic considering the narrator. It almost reads like a stream on consciousness. It isnt staccato and rough like Hemingways writing, reading smoothing while still sounding like what is going through a young girl's mind during the time.
The plot actually wasnt too complicated. A young girl is given to a king as a companion for his daughter. Their village is sacked when she is older and she lies to Menalaus to save herself and thus becomes a companion for his young daughter. Helen meets Paris, and the rest is history. It sounds simple enough, but every page had something on it that progressed the storyline. It seemed that something was always happening.
Cooney's Helen of Troy had me clutching my book firmly in my claws, trying not to through it across the room in rage. I always picture Helen of Troy as a narcisstic woman who should have been put in her place. Cooney portrayed just that: a woman so caught in her own supposed birthright, beauty, and self bestowed power that, at time, Helen acted as if she was a goddess herself. She had accepted her life but was bored with it. It wasn't until someone as equally gorgeous and captivating as her came along, Paris, did she gain the courage to finally defy her husband.
I equally agreed with Cooney's portrayal of Paris. The young prince, who was also known to be quite the stud of his time, just bragged about his conquests and skills, of which, in truth, he had none.
What is not to love about two people wrapped up in themselves actually falling in love with each other? I wondered if they were only in love with the idea of them having a mate that compared to their unsurpassable looks.
All in all, there were far to many things in this novel that made me place it back on my shelf instead of donating it once I had finished. It lacks a certain maturity that I had grown use to from the other novels I have been reading as of late, but considering it is a young adult novel, I think Cooney can be forgiven for such a triviality.
If you like fiction about ancient Greece and Greek Mythology, I whole-heartedly recommend this little gem.
Hazel (1853 KP) rated Thirteen Reasons Why in Books
Dec 7, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review </i>
Recently filmed as a thirteen-part Netflix drama executively produced by Selena Gomez, <i>Thirteen Reasons Why</i> was the first novel by the award-winning author, Jay Asher. It is the type of book readers will either love or hate, but it should definitely come with a warning. This story is NOT an accurate representation of depression and suicide.
Yes, suicide. A teenaged girl has committed suicide, shocking everyone who knew her. No one could understand why, but thirteen people are going to find out. Clay Jensen is the ninth person to receive a box of thirteen audiotapes from Hannah Baker. However, Hannah died two weeks ago. As she premeditated taking her life, Hannah recorded thirteen stories involving people from her school that caused her to snowball into deep depression and despair. Desperate to find out why his name features in Hannah’s story, Clay begins listening to the tapes in order, putting together the events that led to Hannah’s death.
What follows is a heart-breaking story showing the impact individuals have on other people’s lives, often without realising it. In some cases, the characters only played a minor role in Hannah’s life, whereas others caused significant damage. The saddest thing is, Clay could have helped Hannah, but she had pushed him away.
At times, Hannah seemed like the horrible person, calling all these people out on petty little things, but these things, along with the more horrible ones, all built up to create a life that did not feel worth living. It is eye opening how much a small action, comment or rumour can so drastically alter someone’s future.
Bearing in mind that depression affects everyone differently and has numerous causes, some readers may feel disgusted at Hannah’s extreme action, but this is the fault of the author. Jay Asher fails to completely describe the emotional torment that Hannah felt, and only someone who may have been through a similar situation, or worse, will fully be able to understand the impact everything has had on her mental health.
As Hannah beleaguers her listeners, the thirteen people start to feel like the victims rather than the “attackers”, which is most probably not what the author was intending. Now, these people will have to live their lives believing they caused a girl to commit suicide when really they were only 1/13th of the reason. Although, before criticising this novel, keep in mind it is a work of fiction.
What is most painful about <i>Thirteen Reasons Why</i>, is not Hannah’s plight, but the reaction Clay has to hearing Hannah’s story. Unlike the other people Hannah accuses, Clay is not one of her antagonists; all Hannah wants to do is to say sorry.
It is up to the reader to judge whether <i>Thirteen Reasons Why</i> is worthy of praise or not. Those without an understanding of depression may dislike it on account of misunderstanding Hannah’s reasons, whereas others may feel insulted that she killed herself over things that could have been eased had she told someone. Personally, I understand where Hannah is coming from, and although I would not go to the extremes Hannah did, I do not think she was selfish or stupid or any other insult that may befall her.
The reason I give this book a good rating lies in the quality of writing. Asher seamlessly alternates between two narratives – Hannah’s story and Clay’s reaction and reflection. Although the author may not have clearly expressed Hannah’s emotions, he successful emphasises the grief and despair Clay feels listening to the cassettes. My main concern is that <i>Thirteen Reasons Why</i> will only be short lived. Audiotapes were already obsolete when the book was published, but soon will there be any new readers who know what a tape is?
Recently filmed as a thirteen-part Netflix drama executively produced by Selena Gomez, <i>Thirteen Reasons Why</i> was the first novel by the award-winning author, Jay Asher. It is the type of book readers will either love or hate, but it should definitely come with a warning. This story is NOT an accurate representation of depression and suicide.
Yes, suicide. A teenaged girl has committed suicide, shocking everyone who knew her. No one could understand why, but thirteen people are going to find out. Clay Jensen is the ninth person to receive a box of thirteen audiotapes from Hannah Baker. However, Hannah died two weeks ago. As she premeditated taking her life, Hannah recorded thirteen stories involving people from her school that caused her to snowball into deep depression and despair. Desperate to find out why his name features in Hannah’s story, Clay begins listening to the tapes in order, putting together the events that led to Hannah’s death.
What follows is a heart-breaking story showing the impact individuals have on other people’s lives, often without realising it. In some cases, the characters only played a minor role in Hannah’s life, whereas others caused significant damage. The saddest thing is, Clay could have helped Hannah, but she had pushed him away.
At times, Hannah seemed like the horrible person, calling all these people out on petty little things, but these things, along with the more horrible ones, all built up to create a life that did not feel worth living. It is eye opening how much a small action, comment or rumour can so drastically alter someone’s future.
Bearing in mind that depression affects everyone differently and has numerous causes, some readers may feel disgusted at Hannah’s extreme action, but this is the fault of the author. Jay Asher fails to completely describe the emotional torment that Hannah felt, and only someone who may have been through a similar situation, or worse, will fully be able to understand the impact everything has had on her mental health.
As Hannah beleaguers her listeners, the thirteen people start to feel like the victims rather than the “attackers”, which is most probably not what the author was intending. Now, these people will have to live their lives believing they caused a girl to commit suicide when really they were only 1/13th of the reason. Although, before criticising this novel, keep in mind it is a work of fiction.
What is most painful about <i>Thirteen Reasons Why</i>, is not Hannah’s plight, but the reaction Clay has to hearing Hannah’s story. Unlike the other people Hannah accuses, Clay is not one of her antagonists; all Hannah wants to do is to say sorry.
It is up to the reader to judge whether <i>Thirteen Reasons Why</i> is worthy of praise or not. Those without an understanding of depression may dislike it on account of misunderstanding Hannah’s reasons, whereas others may feel insulted that she killed herself over things that could have been eased had she told someone. Personally, I understand where Hannah is coming from, and although I would not go to the extremes Hannah did, I do not think she was selfish or stupid or any other insult that may befall her.
The reason I give this book a good rating lies in the quality of writing. Asher seamlessly alternates between two narratives – Hannah’s story and Clay’s reaction and reflection. Although the author may not have clearly expressed Hannah’s emotions, he successful emphasises the grief and despair Clay feels listening to the cassettes. My main concern is that <i>Thirteen Reasons Why</i> will only be short lived. Audiotapes were already obsolete when the book was published, but soon will there be any new readers who know what a tape is?