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Purple Phoenix Games (2266 KP) rated Survive: Escape from Atlantis! in Tabletop Games
Sep 4, 2019 (Updated Jul 2, 2020)
I have never been on a sinking anything. Sure, I have flipped over kayaks, and paddle-boards, and anything else that requires me to balance on top of water. But I cannot imagine the terror of being on an island that just… sinks into the deep. Oh also running out of room and having to swim to safe land. Oh also while sharks, whales, and sea monsters are chasing me. You know what? Maybe I’m cool with being located in the Midwest. I’ll just play this game and live vicariously through the esceeples (escaping meeples? I need a handbook for these -eeple terms).
Survive: Escape from Atlantis! (which I now will call Survive) is an competitive adventure game featuring action points, grid movement, secret unit deployment, dice rolls, and lots of take-that. And little boats. It also can destroy friendships and ruin evenings. Play at your own risk.
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. We ARE including the 5-6 player mini expansion, however. Should we review the others in the future we will either update this review or post a link to the new material here. Also, I do not intend to detail every rule in the book, but give our readers an idea of how the game plays and our thoughts on it. -T
To setup a game of Survive, each player will choose a color and take into their supply all the meeples of that color and two boats. Place all the terrain tiles randomly (and face down) within the bolded line on the board to create the central island. Place out the sea serpents on the sea serpent spots as menacingly as possible. Players then take turns placing their numbered meeples on terrain tiles until all meeples have been placed, and their boateeples on any water space near the island they wish. Keep aside the shark, whale, and dolphin meeples for later. Give the die to the first player and you are ready to play.
On a player’s turn they will 1. Play any tiles from their hand, 2. Move meeples, 3. Remove terrain a tile, 4. Roll the die and move creatures. At the beginning of the game nobody will have any tiles in hand to play, so skip this step if there are no tiles in hand. On subsequent turns players may have collected tiles as a result of the #3 action, and now is the time to play those. Typically they are beneficial for the active player or detrimental to the opponents. Next, the active player will move their meeples in any combination three total board hexes. This can be done with one or more meeples on land or in the water. There are movement restrictions that I will not cover here. After movement, the active player will remove one of the terrain tiles with the lowest elevation (sand, forest, then mountain tiles). The player flips over the tile and will play it immediately if it shows an arrow, or keeps it in hand if it shows a hand icon. Finally, the active player will roll the red die and move creatures per the movement table printed on the board.
Creature movement creates the tension in the game (as if fighting over the boats wasn’t enough). You see, when sharks enter the board and are moved, they are hungry for swimmer meeples (obv). Whales are hungry(?) for boats and will destroy them but fling the meeples aboard into the water to become swimmers. Sea serpents don’t care. They will eat swimmers and manned boats… but they’re the slowest movers. So consider that.
Play continues in this fashion until the either all meeples have been removed from the play grid, or a player flips over the volcano mountain tile and ends the game. Any meeples who have made it to the safety of the outer islands are worth the VP printed on their bottoms. Wait, not the butts. The bottom of the meeples. Which I guess are the feet.
Components. To reiterate, in case it was missed, we are reviewing the 2010 Stronghold edition. There is a newer version, and it seems to look a little better but plays the same. However, I love the components of this version too. The meeples are fine, the creatures are cool, the varying thicknesses of the terrain tiles makes for an interesting mini-3D look, and the board is great without being too busy and distracting. I have absolutely no issues with these components and think they are super.
Now, you may have read in my intro that this game may ruin friendships and the evening, and I really am not joking about this. I have played this so many times where at least one person becomes completely angered by the chomping of the shark or the horrible movement of the sea serpent adjacent to their boat. It’s just a game, and it’s inevitable in this one – your meeples will get eaten. It’s gonna happen! When I teach this now I try to make that apparent right away because it is then not viewed as absolutely treachery when it happens to newer players. Should you be playing with sensitive gamers, please instruct them early that it WILL happen or you’re gonna have a bad time.
However, this game is great! I love it now as much as I ever have. It’s an older horse for me, but one of which I will never tire. I can and love to play it with new gamers, especially the ones that are hoping to join the inner circle. If you can hang through a game of Survive without being angered and taking it all in stride, you are welcome at my table ANY time. That said, as you can see by our ratings, Purple Phoenix Games gives this one a mighty and well-deserved 21 / 24. If you enjoy games that upset your players and want a cool theme on it, check out Survive: Escape from Atlantis!
Survive: Escape from Atlantis! (which I now will call Survive) is an competitive adventure game featuring action points, grid movement, secret unit deployment, dice rolls, and lots of take-that. And little boats. It also can destroy friendships and ruin evenings. Play at your own risk.
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. We ARE including the 5-6 player mini expansion, however. Should we review the others in the future we will either update this review or post a link to the new material here. Also, I do not intend to detail every rule in the book, but give our readers an idea of how the game plays and our thoughts on it. -T
To setup a game of Survive, each player will choose a color and take into their supply all the meeples of that color and two boats. Place all the terrain tiles randomly (and face down) within the bolded line on the board to create the central island. Place out the sea serpents on the sea serpent spots as menacingly as possible. Players then take turns placing their numbered meeples on terrain tiles until all meeples have been placed, and their boateeples on any water space near the island they wish. Keep aside the shark, whale, and dolphin meeples for later. Give the die to the first player and you are ready to play.
On a player’s turn they will 1. Play any tiles from their hand, 2. Move meeples, 3. Remove terrain a tile, 4. Roll the die and move creatures. At the beginning of the game nobody will have any tiles in hand to play, so skip this step if there are no tiles in hand. On subsequent turns players may have collected tiles as a result of the #3 action, and now is the time to play those. Typically they are beneficial for the active player or detrimental to the opponents. Next, the active player will move their meeples in any combination three total board hexes. This can be done with one or more meeples on land or in the water. There are movement restrictions that I will not cover here. After movement, the active player will remove one of the terrain tiles with the lowest elevation (sand, forest, then mountain tiles). The player flips over the tile and will play it immediately if it shows an arrow, or keeps it in hand if it shows a hand icon. Finally, the active player will roll the red die and move creatures per the movement table printed on the board.
Creature movement creates the tension in the game (as if fighting over the boats wasn’t enough). You see, when sharks enter the board and are moved, they are hungry for swimmer meeples (obv). Whales are hungry(?) for boats and will destroy them but fling the meeples aboard into the water to become swimmers. Sea serpents don’t care. They will eat swimmers and manned boats… but they’re the slowest movers. So consider that.
Play continues in this fashion until the either all meeples have been removed from the play grid, or a player flips over the volcano mountain tile and ends the game. Any meeples who have made it to the safety of the outer islands are worth the VP printed on their bottoms. Wait, not the butts. The bottom of the meeples. Which I guess are the feet.
Components. To reiterate, in case it was missed, we are reviewing the 2010 Stronghold edition. There is a newer version, and it seems to look a little better but plays the same. However, I love the components of this version too. The meeples are fine, the creatures are cool, the varying thicknesses of the terrain tiles makes for an interesting mini-3D look, and the board is great without being too busy and distracting. I have absolutely no issues with these components and think they are super.
Now, you may have read in my intro that this game may ruin friendships and the evening, and I really am not joking about this. I have played this so many times where at least one person becomes completely angered by the chomping of the shark or the horrible movement of the sea serpent adjacent to their boat. It’s just a game, and it’s inevitable in this one – your meeples will get eaten. It’s gonna happen! When I teach this now I try to make that apparent right away because it is then not viewed as absolutely treachery when it happens to newer players. Should you be playing with sensitive gamers, please instruct them early that it WILL happen or you’re gonna have a bad time.
However, this game is great! I love it now as much as I ever have. It’s an older horse for me, but one of which I will never tire. I can and love to play it with new gamers, especially the ones that are hoping to join the inner circle. If you can hang through a game of Survive without being angered and taking it all in stride, you are welcome at my table ANY time. That said, as you can see by our ratings, Purple Phoenix Games gives this one a mighty and well-deserved 21 / 24. If you enjoy games that upset your players and want a cool theme on it, check out Survive: Escape from Atlantis!
Bob Mann (459 KP) rated The Girl in the Spider's Web (2018) in Movies
Sep 28, 2021
Would the last straight woman in Stockholm turn off the lights?
You’ve gotta love a Scandi-thriller. Well, that was until last year’s hopeless Michael Fassbender vehicle “The Snowman” which devalued the currency better than Brexit has done to the pound! The mother of them all though was the original “Girl with the Dragon Tattoo” trilogy (in Swedish) in 2009. Although subject to a wholly unnecessary English remake two year’s later by David Fincher (with Mara Rooney and Daniel Craig) it was Noomi Rapace who struck the perfect note as the original anarchic and damaged Lisbeth Salander: a punk wielding a baseball bat like an alien-thing possessed (pun well and truly intended!).
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
Now though we have “A New Dragon Tattoo Story” (as the film’s subtitle clumsily declares) based on the book by David Lagercrantz, who took over the literary franchise after the untimely death of Stieg Larsson. Picking up the reins as Salander is that most British of actresses Claire Foy…. which seems an odd choice, but one which – after you get past the rather odd accent – she just about pulls off.
The Plot
Lizbeth Salendar (Claire Foy) has an interesting hobby. She is a vigilante, like a lesbian Batman, stalking the streets of Stockholm putting wrongs right where abusive boyfriends/husbands are concerned.
She is also a hacking machine for rent. And Frans Balder (Stephen Merchant) has a problem. He has invented a software program that allows its user to control every nuclear warhead in the world from a single laptop (cue every other Bond/24/Austin Powers script ever written). But he has had second thoughts and wants it back from its resting place on the server of the NSA’s chief hacker, Ed Needham (Lakeith Stanfield). Balder recruits Salander to recover it, but when things go pear-shaped Salander finds herself on the wrong side of both the law and the encircling terrorist “spiders”.
The Review
Scandi-dramas work best when they exploit the snow; maintain a sexual tension; and go dark, gritty and violent. On the plus side, “The Girl in the Spider’s Web” ticks most of those boxes adequately. Foy’s Salandar is smart, sassy and sexy, outwitting the best of the best, and only once finding her intellectual match. (If you’re a lesbian, Stockholm is most definitely the place to be: there only seemed to be one hetero-female there, and she was an adulteress).
But Salander also has a Bond-like invincibility that unfortunately tests your incredulity at multiple points. Contributing to the excitement is the stunt team, who keep themselves busy with some great car and bike chases.
So, the movie has its moments and is great to look at. But the film ends up a sandwich or two short of a smorgasbord, thanks largely to some totally bonkers plot points and more than a few ridiculous coincidences. There are without doubt an array of well-constructed set pieces here, but they fail to fully connect with any great conviction. An example of a scene that infuriates is a dramatic bathroom fight in a red-lit gloom with identical protagonists that is cut together so furiously you would need a Blu-ray slo-mo to work out what the hell is going on… and then I fear you might fail.
So it’s an A- for the Production Design (Eve Stewart, “The Danish Girl“) and the Cinematography (Pedro Luque, “Don’t Breathe“), but a C- for the director Fede Alvarez (also “Don’t Breathe“).
Avoid the Trailer
I will save my biggest source of wrath though for that major bug-bear of mine: trailers that spoil the plot.
I’ve asked before, but for a film like this, WHO EXACTLY PUTS TOGETHER THE TRAILER? I’d like to think it’s some mindless committee of marketing execs somewhere. Because I HONESTLY CAN’T BELIEVE it would be the director! (If I’m wrong though, I would point my finger at Mr Alvarez and chant “shame, shame, shame”!)
For the trailer that I saw playing in UK cinemas does it’s level best to not only drop in the key spoilers of the plot (including the climactic scene), but also spoils just about every action money-shot in the movie. It’s all so pointless. If you’ve by any chance managed to get to this point without seeing the trailer, then SAVE YOURSELVES and AVOID IT!
(The one attached below by the way is slightly – slightly! – better, including some over-dubbing of a line that I don’t think was in the film. Perhaps they realised their huge mistake and reissued it?)
The Turns
As I mentioned earlier, Claire Foy again extends her range by playing Salander really well. She is the reason to go and see the film.
The Daniel Craig part of Blomkvist is played here by Sverrir Gudnason, who was in “The Circle” (which I saw) and was Borg in “Borg McEnroe” (which I didn’t). Blomkvist really is a lazy ****, since he works for the publication “Millenium” but writes absolutely nothing for years. It must be only because the boss (Vicky Krieps) fancies him that he keeps his job. Gudnason is good enough, but has very little to do in the movie: its the Salander/Foy show. Slightly, but only slightly, more involved is Lakeith Standfield as the US intelligence man.
Given little to do in the plot. Sverrir Gudnason as the incredibly unproductive ‘journalist’ Mikael Blomkvist. (Source: Sony Pictures Entertainment)
Stephen Merchant is an odd casting choice for Balder. Not withstanding that he was brilliant when almost unrecognisable in “Logan“, here he looks far too much like his “Ricky Gervais sidekick” persona to be taken seriously: and it’s not even remotely a comedy (there is only one humorous moment in the film, a nice “clicker” gag in a car park).
Final Thoughts
I had high hopes for this film from the trailer, but I was left disappointed. It’s not classic Scandi-noir like the original “Tattoo”; and it’s not going for the black comedy angle of “Headhunters” (which I saw again last week and loved… again!). It falls into a rather “meh” category. It’s not a bad evening’s watch, but perhaps worth leaving for a DVD/cable showing.
BankofMarquis (1832 KP) rated Avengers: Endgame (2019) in Movies
Apr 29, 2019
It has "all the feels"
***There will be NO SPOILERS in this review***
AVENGERS: ENDGAME is an emotionally and artistically satisfying conclusion to 11 years and 22 films of the MARVEL CINEMATIC UNIVERSE.
Closing out "Phase III" in the MCU, the concluding chapter for most of the "original" MCU characters/actors, ENDGAME picks up the Avengers story right after the conclusion of AVENGERS: INFINITY WAR - a film which saw our heroes lose the battle to Thanos, who snapped his fingers and half the living beings in the Universe vanished.
Instead of downplaying the grief that a survivor would feel, Directors Joe and Anthony Russo (veterans of many MCU films) wisely decide to "lean into" this grief which gives this film something that is surprising for a SuperHero film - emotional resonance. You grieve with these characters that you have come to know - and love - and share their pain and sorrow.
It's a wise choice for it adds a layer to this film that many Superhero films fail to achieve. Along with action, fun characters that you want to root for, interesting visuals and (are you listening DC?) - HUMOR, this film has "all the feels" (to steal a phrase) and will leave the MCU fan (both hardcore and casual) satisfied with the experience.
Also...interestingly enough...this film stands on it's own quite well. The guy next to me in the theater was a "newbie" to the MCU, dragged to the theater with his friends to be "part of the crowd" in this experience. Over the first 5 minutes he was asking his buddy a million questions about who is who and what is what...but after that he just settled into his chair and enjoyed the ride for what it is - even jumping up and cheering at a spot late in the film where EVERYONE in the sold out IMAX showing I was in was tempted to jump out of their chair and cheer (yes - there is THAT kind of moment in this film).
There is also sorrow...loss...joy...relief...tension...excitement...as I said..."all the feels". I don't usually tear up at movies, but I felt some glistening in the corners of my eyes and a lump in my throat on more than 1 occasion - sometimes with sadness, but, sometimes, with joy and exuberance. Yes! I had tears of JOY jumping out of my eyes at a few moments in this film.
But, if it is Special Effects spectacle you are looking for - no worries. There are PLENTY including a finale that is worthy of being the Final Battle in the Final Film for this Phase of the series.
And...the humor...this film has a surprisingly large amount of light, happy moments as well. I give the Russo Brothers - and the MCU - credit for realizing that humor is a good counterbalance to sorrow, action and suspense. I also give them credit for what character they decided to use as the "comic relief" in this film. It's a good choice - and the performer tapped to play the humor is equal to the task.
But, of course, none of this matters if the characters aren't interesting enough to root for - and this film has it in spades. We've watched these characters grow, develop, bond and tear apart over the course of these past 11 years, so there is quite a bit of emotional investment in the characters - and this investment pays of handsomely (again...if you are a "casual" fan or a "newbie", you'll be fine). But...if you are like me and are "into" the MCU then there is payoff after payoff in this film that is extremely satisfying.
The actors in ENDGAME are, of course, at the top of their game. They know they are capping a special moment in their careers and they "bring it". Starting, of course, with Robert Downey, Jr. as Tony Stark/Iron Man. His character goes through a wide variety of emotions through the course of this film and - if this is his last MCU film - he's going out in style. As is Chris Evans as Steve Rogers/Captain America. These two are at the heart of this film - and at the heart of the MCU - and they take center stage with aplomb, tweaking their characters while respecting all that came before. To be honest, I never really bought into the Iron Man vs. Captain America "Civil War" storyline, but they tie that up nicely.
Of course the other 4 "Original 6 Avengers" - Chris Hemsworth's THOR, Scarlett Johansson's BLACK WIDOW, Mark Ruffalo's BRUCE BANNER and Jeremy Renner's CLINT/HAWKEYE/RONIN - are on hand and they all have their moments and take their bows as appropriate throughout. I also have to give some "props" to Don Cheadle's James "Rhodey" Rhodes/WAR MACHINE - kind of an unsung performer in these films and is a welcome sight who would have been missed had he not been there.
The other "survivors of the snap" - Bradley Cooper's ROCKET RACOON, Karen Gillan's NEBULA and Paul Rudd's SCOTT LANG/ANT MAN - fit in with the "original" Avengers quite well. This group of 10 is fun to watch. Add to them Brie Larson's CAPTAIN MARVEL to mix the drink and the concoction was intoxicating to me. A small "quibble" and I do mean a "quibble" - Danai Gurira and her character OKOYE is underutlized/underused for my tastes, but...that is just a "quibble".
Oh...and James Brolin is back as "big bad" Thanos - a worthy adversary, both emotionally, intellectually and physically for this group of SuperHero's to outwit/outlast/outplay.
Finally...without giving away any plot points...this story figured out a way to reflect on/pay homage to previous films in this Universe. It was a clever way to bring back stories/characters/moments from the past and to give some of these performers and moments a nice "cameo" curtain call.
I better stop now before I give away plot points - needless to say I LOVED THIS FILM - it was a very satisfying way to say "thank you and goodbye" to 11 years (and 22 films) of marvelous film making.
I'm looking forward to what the next 11 years in the Marvel Cinematic Universe has to offer - the bar has been set at the highest level.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
AVENGERS: ENDGAME is an emotionally and artistically satisfying conclusion to 11 years and 22 films of the MARVEL CINEMATIC UNIVERSE.
Closing out "Phase III" in the MCU, the concluding chapter for most of the "original" MCU characters/actors, ENDGAME picks up the Avengers story right after the conclusion of AVENGERS: INFINITY WAR - a film which saw our heroes lose the battle to Thanos, who snapped his fingers and half the living beings in the Universe vanished.
Instead of downplaying the grief that a survivor would feel, Directors Joe and Anthony Russo (veterans of many MCU films) wisely decide to "lean into" this grief which gives this film something that is surprising for a SuperHero film - emotional resonance. You grieve with these characters that you have come to know - and love - and share their pain and sorrow.
It's a wise choice for it adds a layer to this film that many Superhero films fail to achieve. Along with action, fun characters that you want to root for, interesting visuals and (are you listening DC?) - HUMOR, this film has "all the feels" (to steal a phrase) and will leave the MCU fan (both hardcore and casual) satisfied with the experience.
Also...interestingly enough...this film stands on it's own quite well. The guy next to me in the theater was a "newbie" to the MCU, dragged to the theater with his friends to be "part of the crowd" in this experience. Over the first 5 minutes he was asking his buddy a million questions about who is who and what is what...but after that he just settled into his chair and enjoyed the ride for what it is - even jumping up and cheering at a spot late in the film where EVERYONE in the sold out IMAX showing I was in was tempted to jump out of their chair and cheer (yes - there is THAT kind of moment in this film).
There is also sorrow...loss...joy...relief...tension...excitement...as I said..."all the feels". I don't usually tear up at movies, but I felt some glistening in the corners of my eyes and a lump in my throat on more than 1 occasion - sometimes with sadness, but, sometimes, with joy and exuberance. Yes! I had tears of JOY jumping out of my eyes at a few moments in this film.
But, if it is Special Effects spectacle you are looking for - no worries. There are PLENTY including a finale that is worthy of being the Final Battle in the Final Film for this Phase of the series.
And...the humor...this film has a surprisingly large amount of light, happy moments as well. I give the Russo Brothers - and the MCU - credit for realizing that humor is a good counterbalance to sorrow, action and suspense. I also give them credit for what character they decided to use as the "comic relief" in this film. It's a good choice - and the performer tapped to play the humor is equal to the task.
But, of course, none of this matters if the characters aren't interesting enough to root for - and this film has it in spades. We've watched these characters grow, develop, bond and tear apart over the course of these past 11 years, so there is quite a bit of emotional investment in the characters - and this investment pays of handsomely (again...if you are a "casual" fan or a "newbie", you'll be fine). But...if you are like me and are "into" the MCU then there is payoff after payoff in this film that is extremely satisfying.
The actors in ENDGAME are, of course, at the top of their game. They know they are capping a special moment in their careers and they "bring it". Starting, of course, with Robert Downey, Jr. as Tony Stark/Iron Man. His character goes through a wide variety of emotions through the course of this film and - if this is his last MCU film - he's going out in style. As is Chris Evans as Steve Rogers/Captain America. These two are at the heart of this film - and at the heart of the MCU - and they take center stage with aplomb, tweaking their characters while respecting all that came before. To be honest, I never really bought into the Iron Man vs. Captain America "Civil War" storyline, but they tie that up nicely.
Of course the other 4 "Original 6 Avengers" - Chris Hemsworth's THOR, Scarlett Johansson's BLACK WIDOW, Mark Ruffalo's BRUCE BANNER and Jeremy Renner's CLINT/HAWKEYE/RONIN - are on hand and they all have their moments and take their bows as appropriate throughout. I also have to give some "props" to Don Cheadle's James "Rhodey" Rhodes/WAR MACHINE - kind of an unsung performer in these films and is a welcome sight who would have been missed had he not been there.
The other "survivors of the snap" - Bradley Cooper's ROCKET RACOON, Karen Gillan's NEBULA and Paul Rudd's SCOTT LANG/ANT MAN - fit in with the "original" Avengers quite well. This group of 10 is fun to watch. Add to them Brie Larson's CAPTAIN MARVEL to mix the drink and the concoction was intoxicating to me. A small "quibble" and I do mean a "quibble" - Danai Gurira and her character OKOYE is underutlized/underused for my tastes, but...that is just a "quibble".
Oh...and James Brolin is back as "big bad" Thanos - a worthy adversary, both emotionally, intellectually and physically for this group of SuperHero's to outwit/outlast/outplay.
Finally...without giving away any plot points...this story figured out a way to reflect on/pay homage to previous films in this Universe. It was a clever way to bring back stories/characters/moments from the past and to give some of these performers and moments a nice "cameo" curtain call.
I better stop now before I give away plot points - needless to say I LOVED THIS FILM - it was a very satisfying way to say "thank you and goodbye" to 11 years (and 22 films) of marvelous film making.
I'm looking forward to what the next 11 years in the Marvel Cinematic Universe has to offer - the bar has been set at the highest level.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
KittyMiku (138 KP) rated Her Last Goodbye in Books
May 23, 2019
Contains spoilers, click to show
As with any mystery, it is amazing to have that suspense with a tad bit of danger. After all, the excitement is in the wondering who did what and what may have caused an event to happen. However, Her Last Goodbye is more than just that. It allows the reader to see into some of the worries and dangers it is to be a parent, how romance can lead to vulnerable states of mind (which we all know can lead to some acts of intimacy), as well as how some people have some complicated views on how a relationship should work. It was even more shocking and terrifyingly real than the first book in the Morgan Dane series. I found myself ridden with anxiety, fear, and concern through out the book. Having so many difficult situations to have to sort through and ideas, I found this book hard to put down, even when it got too intense to keep reading at the moment.
First of all, Morgan having three children is always nice to see. With her concern about her children's livelihood always about her, it wasn't hard for her to connect with the missing woman, Chelsea, who was a mother of 2 small children, and how she wasn't likely to leave her children that she adored so much. It was, however, rough for her to try to come up with clues and facts to prove that the woman just didn't run away from her family. To see Morgan struggle through that idea and then to end up having her own children threatened on multiple occasions by a variety of men, only made things worse. I found those parts exceptionally hard to read. Having a child myself, I don't think I would have been as rational or as brave as she was. Just the thought of the things she went through and the ideas of a mother just abandoning her children, has me shaken. Even though, as stated in the book, mothers sometimes do strange things like that, it still isn't easy to process or understand. Then to watch a mother go into Mama Bear mode to protect her own, kept my own mind whirling. I like to think I would do anything to protect my daughter, but my own problem with conflict would have been enough to make sure I got out of whatever situation that would put me in that rough spot. It had fuel Morgan even more though. She pushed harder to find and get rid of the person behind her own children's danger. This only makes her even more loveable. It is actually inspiring to have such a strong woman character, who would do anything to protect her loved ones. I can't help but feel more drawn to her in this book, and I feel that my admiration and love for her will grow in the future. Even so, I still found a lot of other disturbing things within the story.
We all know that there are people out there who believe women should be completely submissive to men, but it was still really hard to read and stomach a character who had this belief. To kidnap, condition, and even train another person seems extremely harsh, yet a they existed. I found it harder to read how they would torture another human being to break their mind and their spirit, just to train a woman to think and be something they weren't. Especially when said person was supposedly in love with their prey. I did find it inspiring on how, even being tortured, a woman can overcome it and try to escape and get back to her family. In fact, the thought of her family propelled her and kept her trying to get back home. It really made me happy to see that family was her motivation. Though, it was rough to get through, it made me wonder how many women could go through what she had and still find the courage and strength to keep trying to figure out a way to escape and get home. Even though, it was clear she was traumatized, it was clear she was more concerned with getting home to her children than how she could be caught and tortured and punished for trying. I found this to be a pleasant idea to have about someone who was captured. After all, wouldn't you end up within just a few days of being hurt over and over, give up and just conform to whoever was trying to condition you was ways? I probably would have. But this woman character definitely shed some light how nothing else mattered where your family is concern.
I found how strong feelings for someone and their family can really change how you view things to be a nice delight. I hadn't expected Lance to end up falling for Morgan's children the way he did to happen. It had been hinted that he loved and wanted a relationship with Morgan, but to see him fall in love with her girls and want to protect them as much as Morgan did, was really a pleasant sight. I know there are men out there like that, but its still rare and to see how his love for Morgan ends up extending to her children was just the right about of sentiment and love the book need to keeps things from going overboard. I enjoyed how he tried his best to make sure her girls were safe and even let them into his house to keep them protected, to be exhilarating and touching. It is always nice to have some wholesome love and concern to help break up some of the tension in a storyline and Leigh's way of adding this to Lance's character was a nice call. It helped keep the danger presented while showing a parental side to Lance and offering up how your friends and potential lover's can easily adore your children as much as you do.
Overall, I would rate Melinda Leigh's Her Last Goodbye 5 stars out of 5 stars for how well written and emotional filled the book was. It could stand alone as it gives refreshers on what happened in the last book, as well as had its own storyline. Though, the character developments increased and they continued to grow through out the story, the reader wouldn't feel like they missed a whole lot by reading this book first. I have to say that has to be something that is delightful. After all, wouldn't is just bite if you had to read the first book to even think about picking up the second. Sometimes you don't always realize what you are grabbing and having a series that has books that could stand alone if they needed to, makes it so much easier to start by whatever book you happen to pick up first. I definitely recommend this book to all our thrill seekers. Its not for the faint of heart, but is still extremely excellent to read.
First of all, Morgan having three children is always nice to see. With her concern about her children's livelihood always about her, it wasn't hard for her to connect with the missing woman, Chelsea, who was a mother of 2 small children, and how she wasn't likely to leave her children that she adored so much. It was, however, rough for her to try to come up with clues and facts to prove that the woman just didn't run away from her family. To see Morgan struggle through that idea and then to end up having her own children threatened on multiple occasions by a variety of men, only made things worse. I found those parts exceptionally hard to read. Having a child myself, I don't think I would have been as rational or as brave as she was. Just the thought of the things she went through and the ideas of a mother just abandoning her children, has me shaken. Even though, as stated in the book, mothers sometimes do strange things like that, it still isn't easy to process or understand. Then to watch a mother go into Mama Bear mode to protect her own, kept my own mind whirling. I like to think I would do anything to protect my daughter, but my own problem with conflict would have been enough to make sure I got out of whatever situation that would put me in that rough spot. It had fuel Morgan even more though. She pushed harder to find and get rid of the person behind her own children's danger. This only makes her even more loveable. It is actually inspiring to have such a strong woman character, who would do anything to protect her loved ones. I can't help but feel more drawn to her in this book, and I feel that my admiration and love for her will grow in the future. Even so, I still found a lot of other disturbing things within the story.
We all know that there are people out there who believe women should be completely submissive to men, but it was still really hard to read and stomach a character who had this belief. To kidnap, condition, and even train another person seems extremely harsh, yet a they existed. I found it harder to read how they would torture another human being to break their mind and their spirit, just to train a woman to think and be something they weren't. Especially when said person was supposedly in love with their prey. I did find it inspiring on how, even being tortured, a woman can overcome it and try to escape and get back to her family. In fact, the thought of her family propelled her and kept her trying to get back home. It really made me happy to see that family was her motivation. Though, it was rough to get through, it made me wonder how many women could go through what she had and still find the courage and strength to keep trying to figure out a way to escape and get home. Even though, it was clear she was traumatized, it was clear she was more concerned with getting home to her children than how she could be caught and tortured and punished for trying. I found this to be a pleasant idea to have about someone who was captured. After all, wouldn't you end up within just a few days of being hurt over and over, give up and just conform to whoever was trying to condition you was ways? I probably would have. But this woman character definitely shed some light how nothing else mattered where your family is concern.
I found how strong feelings for someone and their family can really change how you view things to be a nice delight. I hadn't expected Lance to end up falling for Morgan's children the way he did to happen. It had been hinted that he loved and wanted a relationship with Morgan, but to see him fall in love with her girls and want to protect them as much as Morgan did, was really a pleasant sight. I know there are men out there like that, but its still rare and to see how his love for Morgan ends up extending to her children was just the right about of sentiment and love the book need to keeps things from going overboard. I enjoyed how he tried his best to make sure her girls were safe and even let them into his house to keep them protected, to be exhilarating and touching. It is always nice to have some wholesome love and concern to help break up some of the tension in a storyline and Leigh's way of adding this to Lance's character was a nice call. It helped keep the danger presented while showing a parental side to Lance and offering up how your friends and potential lover's can easily adore your children as much as you do.
Overall, I would rate Melinda Leigh's Her Last Goodbye 5 stars out of 5 stars for how well written and emotional filled the book was. It could stand alone as it gives refreshers on what happened in the last book, as well as had its own storyline. Though, the character developments increased and they continued to grow through out the story, the reader wouldn't feel like they missed a whole lot by reading this book first. I have to say that has to be something that is delightful. After all, wouldn't is just bite if you had to read the first book to even think about picking up the second. Sometimes you don't always realize what you are grabbing and having a series that has books that could stand alone if they needed to, makes it so much easier to start by whatever book you happen to pick up first. I definitely recommend this book to all our thrill seekers. Its not for the faint of heart, but is still extremely excellent to read.
Dana (24 KP) rated Vanishing Girls in Books
Mar 23, 2018
I am not sure why I keep being surprised at how good books are, especially since I have read some of these authors before! This book is no different. I was thinking this book would be just okay, nothing too memorable, but I was so wrong! Oh, and I got to meet Lauren Oliver at Yallwest 2015! She was so sweet and signed my book!!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
honingwords (32 KP) rated No Good Reason in Books
Jul 5, 2018
Cari Hunter is most definitely as top notch a writer as you are going to find in crime/thriller writing.
Cari Hunter’s Dark Peak crime series, starting with No Good Reason, was recommended to me by a Lesfic author. I reckon you have to be pretty good for your peers to claim you are ‘top notch’ and after reading four of her books in quick succession I can guarantee that Cari is most definitely as top notch a writer as you are going to find in crime/thriller writing.
Let me admit to you that I generally find crime novels too much hard work to follow. I like my books to be romances, and the sexier the better. I’m surprised as all get out to find I love Cari’s thrilling ride through these Police stroke Hospital novels. Especially as there is almost no juicy sex to lubricate the grit. The infrequency of sex scenes is because the main characters, Sanne and Meg, aren’t officially a couple. Or maybe they are. It’s entirely possible everyone knows they are, except themselves.
The story isn't necessarily about their sexual tension, but it was always in the back of my mind that they would see sense in the end and I patiently waited them out.
I have found in the last few years that there are many padded-out books on the market by well-respected authors, where you can skip through whole pages at a time without losing any real sense of the plot. Not so with No Good Reason which kept me riveted through each paragraph and exquisite word right from the tense prologue.
Cari definitely makes every single word count and I felt engaged in the story and with her main characters within the first few pages.
I’d already read Snowbound, which was a fantastic debut novel, but the characters in No Good Reason are one smidge more sophisticatedly written.
Sanne and Meg go back a very long time, from before their first kiss at the age of twelve, and they know each other better than they know themselves. They have generated a world around them where they are each others’ support and comfort. They are BFFs, they are Friends With Benefits, but somehow Cari has written them as even more than these things. They are each others’ absolute other halves.
These two girls have aches and bruises, and tears and emotions, and genuine exhaustion from their ridiculously long work hours.
They do things like accidentally drop perishable shopping on the floor, but eat it anyway; burn their tea; and turn the shower off when the toilet flushes for fear of being scalded.
I love details like these. I love that they can have a discussion about putting the bins out and HobNobs can fall in their tea the same as they do for you and me, without making the whole book boring and mundane. It simply endears the characters to me all the more.
They made me smile a lot. Meg prefers ham and quaver butties, for goodness sake, what’s not to love?
It doesn’t take long for Cari to completely draw you into their world in Northern England, around the Manchester area, and mainly in the Peak District which is where Cari lives and I feel like I have travelled the hills and crunched the snow and tramped through the same streets as she has now.
This area has its own accent, Northern English, and it is noticeable that she uses phrases and words particular to there. I can’t remember which words I picked up on first, probably some dialogue, but you quickly become used to the fact this is not written by an American. It’s refreshing to have only regional UK main characters: no Londoners; no Americans.
Don’t let the idea of a local accent and local characters put you off, there is nothing in the book you wouldn’t understand, it is still all ‘plain English’ and if you come across a word you can’t decipher I will more than happily translate for you!
Other than the almost-a-romance-but-so-much-more between the two girls there is also this whole other kidnapping / crime malarkey going on. Sanne is a little too personally involved in the case right from the beginning, being caught up in the initial rescue of the victim. She and her police partner, the sensitive, caring, supportive, gorgeously written Nelson, are embroiled in working the case together. Needless to say they spend a lot of time visiting Meg in her role as A&E Doctor in the local hospital for one reason or another. Nelson is a beautiful soul and just the kind of partner Sanne needs, but that writers seldom allow their straight characters to be, especially in Police fiction.
The kidnapping plot is fast paced and exciting. The characters on both sides of the investigation were all believable and there was an audible ‘Huh!’ out of me with the final twist at the end. I really didn’t see that coming. Such a simple way to pull the whole plot together. Chilling!
Cari has a remarkable flair for descriptive writing and she pays particular attention to details like sounds and how things feel against skin. You are left in no doubt every time a character is sore, almost feeling the pain and peeling off the scabs with them.
Sometimes you have to reread a passage to understand the gist of what an author means, or furrow your brow over a combination of words because they just don’t make sense or even belong together, but with Cari Hunter the only thing I can point out to her is ‘Try feeding goldfinches niger seeds instead of nuts.’ That’s it. No other tweaking or corrections required. Nothing. Cari Hunter writes sheer perfection.
My favourite line in the book is the first one I stopped at, blinked appreciatively and re-read.
“Sanne ran her fingertips across the gritstone, letting it wear away her skin like an over-keen emery board.”
From that point on I knew I was going to love not only the book, but also Cari’s style and I wasn’t disappointed with further chapters.
I have a simple test for new authors, to find out how much I like them. The test is ‘how sick has this author made me?’ By that I mean - how long did they keep me awake reading when I ought to have been asleep for work the next day. If I am awake too long it makes me sick for several days after - it shouldn’t be something I am proud of but
Let me admit to you that I generally find crime novels too much hard work to follow. I like my books to be romances, and the sexier the better. I’m surprised as all get out to find I love Cari’s thrilling ride through these Police stroke Hospital novels. Especially as there is almost no juicy sex to lubricate the grit. The infrequency of sex scenes is because the main characters, Sanne and Meg, aren’t officially a couple. Or maybe they are. It’s entirely possible everyone knows they are, except themselves.
The story isn't necessarily about their sexual tension, but it was always in the back of my mind that they would see sense in the end and I patiently waited them out.
I have found in the last few years that there are many padded-out books on the market by well-respected authors, where you can skip through whole pages at a time without losing any real sense of the plot. Not so with No Good Reason which kept me riveted through each paragraph and exquisite word right from the tense prologue.
Cari definitely makes every single word count and I felt engaged in the story and with her main characters within the first few pages.
I’d already read Snowbound, which was a fantastic debut novel, but the characters in No Good Reason are one smidge more sophisticatedly written.
Sanne and Meg go back a very long time, from before their first kiss at the age of twelve, and they know each other better than they know themselves. They have generated a world around them where they are each others’ support and comfort. They are BFFs, they are Friends With Benefits, but somehow Cari has written them as even more than these things. They are each others’ absolute other halves.
These two girls have aches and bruises, and tears and emotions, and genuine exhaustion from their ridiculously long work hours.
They do things like accidentally drop perishable shopping on the floor, but eat it anyway; burn their tea; and turn the shower off when the toilet flushes for fear of being scalded.
I love details like these. I love that they can have a discussion about putting the bins out and HobNobs can fall in their tea the same as they do for you and me, without making the whole book boring and mundane. It simply endears the characters to me all the more.
They made me smile a lot. Meg prefers ham and quaver butties, for goodness sake, what’s not to love?
It doesn’t take long for Cari to completely draw you into their world in Northern England, around the Manchester area, and mainly in the Peak District which is where Cari lives and I feel like I have travelled the hills and crunched the snow and tramped through the same streets as she has now.
This area has its own accent, Northern English, and it is noticeable that she uses phrases and words particular to there. I can’t remember which words I picked up on first, probably some dialogue, but you quickly become used to the fact this is not written by an American. It’s refreshing to have only regional UK main characters: no Londoners; no Americans.
Don’t let the idea of a local accent and local characters put you off, there is nothing in the book you wouldn’t understand, it is still all ‘plain English’ and if you come across a word you can’t decipher I will more than happily translate for you!
Other than the almost-a-romance-but-so-much-more between the two girls there is also this whole other kidnapping / crime malarkey going on. Sanne is a little too personally involved in the case right from the beginning, being caught up in the initial rescue of the victim. She and her police partner, the sensitive, caring, supportive, gorgeously written Nelson, are embroiled in working the case together. Needless to say they spend a lot of time visiting Meg in her role as A&E Doctor in the local hospital for one reason or another. Nelson is a beautiful soul and just the kind of partner Sanne needs, but that writers seldom allow their straight characters to be, especially in Police fiction.
The kidnapping plot is fast paced and exciting. The characters on both sides of the investigation were all believable and there was an audible ‘Huh!’ out of me with the final twist at the end. I really didn’t see that coming. Such a simple way to pull the whole plot together. Chilling!
Cari has a remarkable flair for descriptive writing and she pays particular attention to details like sounds and how things feel against skin. You are left in no doubt every time a character is sore, almost feeling the pain and peeling off the scabs with them.
Sometimes you have to reread a passage to understand the gist of what an author means, or furrow your brow over a combination of words because they just don’t make sense or even belong together, but with Cari Hunter the only thing I can point out to her is ‘Try feeding goldfinches niger seeds instead of nuts.’ That’s it. No other tweaking or corrections required. Nothing. Cari Hunter writes sheer perfection.
My favourite line in the book is the first one I stopped at, blinked appreciatively and re-read.
“Sanne ran her fingertips across the gritstone, letting it wear away her skin like an over-keen emery board.”
From that point on I knew I was going to love not only the book, but also Cari’s style and I wasn’t disappointed with further chapters.
I have a simple test for new authors, to find out how much I like them. The test is ‘how sick has this author made me?’ By that I mean - how long did they keep me awake reading when I ought to have been asleep for work the next day. If I am awake too long it makes me sick for several days after - it shouldn’t be something I am proud of but
Matt Geiger (15 KP) rated Da 5 Bloods (2020) in Movies
Jun 27, 2020
Da 5 Bloods: Spike Lee Asks Us "What's Going On?"
Spike Lee could not have possibly known that current events and major progresses made in the Black Lives Matter movement would more than likely affect the way audiences perceive Da 5 Bloods, but it’s these developments that, for all of the film’s flaws, imbue it with a sense of urgency befitting of Lee’s filmmaking talents and the beliefs that his filmography has been expounding for decades. In the process of expressing such powerful statements, Lee, in turn, provides a long-overdue voice for the African American experience in the Vietnam War, a conflict that has been portrayed in popular film for about as long as it has been over, and yet strangely, has not been properly balanced in its representation of those who made up the largest percentage of those who served in it.
Continuing Lee’s trend of fusing the past and present together to show that things are definitely still yet to change, Da 5 Bloods finds four African American veterans returning to Vietnam to search for the remains of their commanding officer, “Stormin’” Norman (Chadwick Boseman), and the stash of gold that they found and collectively buried, gold that was initially offered to the indigenous Southern Vietnamese by the CIA as payment for their support of US troops, but taken by the “Bloods” as compensation for their needless sacrifices for a country that has never given them the treatment they deserve despite the fact that they played a pivotal role in helping to make it what it is today. The ultimate goal is nothing that hasn’t been depicted before, but the controversy of the Vietnam War and the experience of combat and violence spills over into today; some of the film’s most striking messages are effectively relayed through a handful of very committed performances from the well-casted ensemble, with Delroy Lindo serving as the beating emotional heart of the film. It’s a career-defining showcase for Lindo, who, as the PTSD-stricken Trump supporter Paul, carries the most weight on his shoulders. He wrestles with personal demons and survivor’s guilt for more than half of his life because of the choices he made during his time in the service, time he and the other Bloods couldn’t avoid because, unlike the privileged white men of America, they were not given the same opportunities to dodge the draft. The disenfranchisement and aimlessness that Lindo merely alludes to through his heart-wrenching performance provides the foundation for the complicated relationship Paul shares with his estranged son, David (Jonathan Majors in the film’s other award-worthy performance), who tags along for the ride in an effort to heal old wounds and bury a deeply-lodged hatchet.
The natural chemistry Lindo shares with the other Bloods (Clarke Peters, Norm Lewis, and Isiah Whitlock, Jr.) is palpable in both the past and present, which blend into one as the screen slides from one aspect ratio to another, shifting from flashbacks of one wartorn world to the present day, in which we find ourselves fighting a different, yet altogether similar kind of war. That these changes in aspect ratios never appear as visually perceived cuts is simply another one of the ways in which Spike Lee seamlessly reminds us that then and now are cut from the same cloth, complete with the same heart-wrenching tragedies that give way to the camaraderie that is necessary to ensure that the proper names get written back into history where they belong. How the four vets are visually represented in their recollections of their commander, which are stripped of the psychedelic imagery associated with previous Vietnam War films in order to cut deeper into understanding what the Bloods’ place in Vietnam is supposed to mean (if it means anything at all), further adds to Lee’s ability to find the haunting parallels between the two time periods that comprise the film.
Spike Lee gets at so many unique and timely concepts that seem perfectly applicable to what’s going on in the world, but where he stumbles is how he goes about explicating these ideas. As a storyteller, Lee is at his best when his narratives gradually develop at a reasonably decisive pace until the tension is fully amplified by the story’s climactic boiling point, at which point there’s no turning back. Such was the nature of Do the Right Thing and, more recently, BlacKkKlansman. The same cannot entirely be said for Da 5 Bloods, which struggles to find a consistent pace and tone during its first act, in which it tries to introduce all of the central ideas at once, along with some unnecessary side stories that carry little to no weight in comparison to the central task and are ultimately resolved in schmaltzy, unsatisfying ways. Moreover, while investment in the film can be maintained throughout, too often is this investment reinforced by the unnecessary moments that serve as detriments to the sequences of dramatic consequence and just might take you out of the story, causing you to restart your investment. Every act has at least one of these moments, with the final result unfortunately falling short of the expectations of some of the genres that are molded into the Bloods’ journey through the Vietnamese jungle. The overtly patriotic and quite distracting score from Terence Blanchard (regardless of whether or not its inclusion was intended as irony) does not help the matter, with many of the best scenes occurring either in silence or alongside the soulful tracks of Marvin Gaye’s What’s Going On album.
Even when Spike Lee stumbles in the execution of his argument, what ultimately matters is the argument itself; while the film begins and ends rather heavy-handedly, telling the viewer things they are bound to already know and incorporating footage that doesn’t need to be there for the point to get across, the sacrifices that Lee chooses to detail and their ramifications for the state of our country to today give the film a degree of value at a time like this, and he is the only director who could bring these issues to the forefront in such an entertaining way. It may not be as good or accessible as his best work, but the calls to action that he has long been affiliated with echo through jungles and cities in equal measure.
What did you guys think of Da 5 Bloods? Agree? Disagree?
Continuing Lee’s trend of fusing the past and present together to show that things are definitely still yet to change, Da 5 Bloods finds four African American veterans returning to Vietnam to search for the remains of their commanding officer, “Stormin’” Norman (Chadwick Boseman), and the stash of gold that they found and collectively buried, gold that was initially offered to the indigenous Southern Vietnamese by the CIA as payment for their support of US troops, but taken by the “Bloods” as compensation for their needless sacrifices for a country that has never given them the treatment they deserve despite the fact that they played a pivotal role in helping to make it what it is today. The ultimate goal is nothing that hasn’t been depicted before, but the controversy of the Vietnam War and the experience of combat and violence spills over into today; some of the film’s most striking messages are effectively relayed through a handful of very committed performances from the well-casted ensemble, with Delroy Lindo serving as the beating emotional heart of the film. It’s a career-defining showcase for Lindo, who, as the PTSD-stricken Trump supporter Paul, carries the most weight on his shoulders. He wrestles with personal demons and survivor’s guilt for more than half of his life because of the choices he made during his time in the service, time he and the other Bloods couldn’t avoid because, unlike the privileged white men of America, they were not given the same opportunities to dodge the draft. The disenfranchisement and aimlessness that Lindo merely alludes to through his heart-wrenching performance provides the foundation for the complicated relationship Paul shares with his estranged son, David (Jonathan Majors in the film’s other award-worthy performance), who tags along for the ride in an effort to heal old wounds and bury a deeply-lodged hatchet.
The natural chemistry Lindo shares with the other Bloods (Clarke Peters, Norm Lewis, and Isiah Whitlock, Jr.) is palpable in both the past and present, which blend into one as the screen slides from one aspect ratio to another, shifting from flashbacks of one wartorn world to the present day, in which we find ourselves fighting a different, yet altogether similar kind of war. That these changes in aspect ratios never appear as visually perceived cuts is simply another one of the ways in which Spike Lee seamlessly reminds us that then and now are cut from the same cloth, complete with the same heart-wrenching tragedies that give way to the camaraderie that is necessary to ensure that the proper names get written back into history where they belong. How the four vets are visually represented in their recollections of their commander, which are stripped of the psychedelic imagery associated with previous Vietnam War films in order to cut deeper into understanding what the Bloods’ place in Vietnam is supposed to mean (if it means anything at all), further adds to Lee’s ability to find the haunting parallels between the two time periods that comprise the film.
Spike Lee gets at so many unique and timely concepts that seem perfectly applicable to what’s going on in the world, but where he stumbles is how he goes about explicating these ideas. As a storyteller, Lee is at his best when his narratives gradually develop at a reasonably decisive pace until the tension is fully amplified by the story’s climactic boiling point, at which point there’s no turning back. Such was the nature of Do the Right Thing and, more recently, BlacKkKlansman. The same cannot entirely be said for Da 5 Bloods, which struggles to find a consistent pace and tone during its first act, in which it tries to introduce all of the central ideas at once, along with some unnecessary side stories that carry little to no weight in comparison to the central task and are ultimately resolved in schmaltzy, unsatisfying ways. Moreover, while investment in the film can be maintained throughout, too often is this investment reinforced by the unnecessary moments that serve as detriments to the sequences of dramatic consequence and just might take you out of the story, causing you to restart your investment. Every act has at least one of these moments, with the final result unfortunately falling short of the expectations of some of the genres that are molded into the Bloods’ journey through the Vietnamese jungle. The overtly patriotic and quite distracting score from Terence Blanchard (regardless of whether or not its inclusion was intended as irony) does not help the matter, with many of the best scenes occurring either in silence or alongside the soulful tracks of Marvin Gaye’s What’s Going On album.
Even when Spike Lee stumbles in the execution of his argument, what ultimately matters is the argument itself; while the film begins and ends rather heavy-handedly, telling the viewer things they are bound to already know and incorporating footage that doesn’t need to be there for the point to get across, the sacrifices that Lee chooses to detail and their ramifications for the state of our country to today give the film a degree of value at a time like this, and he is the only director who could bring these issues to the forefront in such an entertaining way. It may not be as good or accessible as his best work, but the calls to action that he has long been affiliated with echo through jungles and cities in equal measure.
What did you guys think of Da 5 Bloods? Agree? Disagree?
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 geek’s paradise, full of believable tech, an extensive character list and jargon coming out of the wazoo! It’s all very complicated… 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 isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t 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 couldn’t 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 – 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 why… 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 show’s 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 – 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 isn’t going to be for everyone. It is very easy to say “I don’t get it” 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! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll 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 there’s 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 isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t 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 couldn’t 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 – 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 why… 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 show’s 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 – 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 isn’t going to be for everyone. It is very easy to say “I don’t get it” 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! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll 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 there’s 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!
Purple Phoenix Games (2266 KP) rated Villages of Valeria in Tabletop Games
Jun 12, 2019
Oh, Valeria. How I do love thee! I have reviewed Valeria: Card Kingdoms (VCK) in the past and if you read that review you learned that it is my favorite game of all time (as of the date of this composition). I actually Kickstarted Villages of Valeria (VoV) before even playing VCK so this game was my introduction into the Valeriaverse. I feel obligated to publicly thank VoV for bringing me into one of my favorite gaming universes. But, how good IS this one?
In VoV you are a Duke/Duchess being charged by the King to found a new Capital City to replace the previous one that has been ravaged by the wars played out in VCK. The King has assigned you a castle to use as your HQ and expects the most enterprising Duke/Duchess to win the day by building the most flourishing village. Will you be able to create the resources necessary to build the most attractive buildings that adventurers will want to frequent? Or will you spend your time taxing your constituents to death?
DISCLAIMER: This review focuses on vanilla Villages of Valeria. We have all the released expansions and may do a review of them in the future. If we do, we will edit this review or link to the new review here. -T
VoV uses a handful of really great game mechanics that will be familiar to some gamers, but not intimidating enough to scare off new gamers, that really work well together to create an excellent gaming experience. I will address most of them here, but please do not use this review as a replacement for the rulebook, as I will not be addressing every single rule.
VoV is played over several rounds where every player will be taking a turn as the active player until someone has built the requisite number of buildings prescribed in the rulebook to trigger the end of the game. Each player starts with a castle card that provides a wild resource of your choice when you need to pay resources to build buildings on future turns. You are also given gold and a starting hand of cards in accordance with setup rules. Setup the decks of cards and create the offer rows for each and you are ready to play!
When you are the active player you will take an action from a list of five available actions: Harvest, Develop, Build, Recruit, and Tax. If you choose to Harvest on your turn you will draw three cards from either the face-up green building cards on the offer or blindly from the deck of green building cards. To Develop you will play a building card from your hand to the back of your castle, tucked underneath and upside down, to be used as the resources printed at the bottom of the card (wood, magic, stone, food). These resources are now available to be used for the build action (think of the brown and gray cards in 7 Wonders, if you’re familiar). When you take the Build action, you will be playing a building card from your hand to be built in the tableau in front of you. Since number of buildings is the end game trigger condition, you will be trying to build buildings as much as possible. All building cards have a cost printed on the left side of the card, and those costs will need to be paid for by using the gold you possess. You can use one gold on your own castle card as it provides a wild resource to you, and you can use one gold per card you have Developed previously for their resource benefit. You may even spend your gold to use an opponent’s resources (not their castle! – also akin to 7 Wonders neighbor resource purchasing). The catch here is that you lose that gold piece to your opponent, but they will not be able to use that resource until the beginning of their turn as active player. Most buildings will have benefits printed on them that either take effect immediately or when triggered by another action. When you Recruit an Adventurer, you are using your village’s buildings to attract them to your cause. Each Adventurer’s cost to recruit is printed on the side of the card, and these costs are paid by having the matching symbols on building cards in your village. Once recruited, these Adventurers can also enact conditional abilities similar to building cards, but usually will be advantages to final VP scores. By taking the Tax action you will take one gold from the bank and draw a building card from the offer or the deck.
Now this all seems pretty easy and I have only really mentioned one form of tension by blocking opponents’ use of their own resources if you spend a gold to use it on your turn. Since you reclaim all gold on your castle and resource cards in your village at the beginning of your turn this should cause no problems, right? Well, VoV also uses the follow mechanic that has been employed by other games previously. When you are the active player you choose which action you want to take on your turn, complete that action, and then the same action is offered to your opponents for them to take at a disadvantage. Example: I choose Tax as my action, so I take my gold and my card and my turn is over. Then, going around the table, each player can decide to follow my action but are only able to take a building card as a follow action. No gold. Each action has a Lead and Follow benefit, so you are always paying attention during the game, even on others’ turns because you might still benefit from the chosen actions.
Play continues like this with active player Lead actions and possible others’ Follow actions until someone triggers the end game condition. Then everyone completes the turn and VPs from all cards in your tableau are added (including gold pieces you collected). Most VPs wins the game of Villages of Valeria!
Components. Okay, I have to admit that I have the Kickstarter Deluxe version of this game so I am only speaking from experience with that version. The cards are of really good quality. The gold tokens and active player castle token are great, but the action tracker we found a bit cumbersome to use so we just, like, didn’t. The building tracker and castleeples are great as well. The art is by The Mico, and I just love his art style, so that’s a big positive for me. Overall, the components are really really nice.
So why do I love this game? Well, it’s really a mashup of mechanics that work well for me. I love the Lead/Follow mechanic. I love 7 Wonders, so borrowing some of those mechanics and nuances is a great fit for me. I absolutely LOVE The Mico’s artwork on every Valeria game. No two games of VoV will be alike because the amount of cards that come inside the box (and growing with every expansion) gives such a diverse gaming experience that I love playing. If you like any of the Valeria games and you have yet to try Villages of Valeria you MUST find a copy. You will be drawn in by the familiar feel of Valeria and mechanics from classic games that will surely delight. We at Purple Phoenix Games give this gem a bustling 20 / 24. Long live Valeria!
https://purplephoenixgames.wordpress.com/2019/04/05/villages-of-valeria-review/
In VoV you are a Duke/Duchess being charged by the King to found a new Capital City to replace the previous one that has been ravaged by the wars played out in VCK. The King has assigned you a castle to use as your HQ and expects the most enterprising Duke/Duchess to win the day by building the most flourishing village. Will you be able to create the resources necessary to build the most attractive buildings that adventurers will want to frequent? Or will you spend your time taxing your constituents to death?
DISCLAIMER: This review focuses on vanilla Villages of Valeria. We have all the released expansions and may do a review of them in the future. If we do, we will edit this review or link to the new review here. -T
VoV uses a handful of really great game mechanics that will be familiar to some gamers, but not intimidating enough to scare off new gamers, that really work well together to create an excellent gaming experience. I will address most of them here, but please do not use this review as a replacement for the rulebook, as I will not be addressing every single rule.
VoV is played over several rounds where every player will be taking a turn as the active player until someone has built the requisite number of buildings prescribed in the rulebook to trigger the end of the game. Each player starts with a castle card that provides a wild resource of your choice when you need to pay resources to build buildings on future turns. You are also given gold and a starting hand of cards in accordance with setup rules. Setup the decks of cards and create the offer rows for each and you are ready to play!
When you are the active player you will take an action from a list of five available actions: Harvest, Develop, Build, Recruit, and Tax. If you choose to Harvest on your turn you will draw three cards from either the face-up green building cards on the offer or blindly from the deck of green building cards. To Develop you will play a building card from your hand to the back of your castle, tucked underneath and upside down, to be used as the resources printed at the bottom of the card (wood, magic, stone, food). These resources are now available to be used for the build action (think of the brown and gray cards in 7 Wonders, if you’re familiar). When you take the Build action, you will be playing a building card from your hand to be built in the tableau in front of you. Since number of buildings is the end game trigger condition, you will be trying to build buildings as much as possible. All building cards have a cost printed on the left side of the card, and those costs will need to be paid for by using the gold you possess. You can use one gold on your own castle card as it provides a wild resource to you, and you can use one gold per card you have Developed previously for their resource benefit. You may even spend your gold to use an opponent’s resources (not their castle! – also akin to 7 Wonders neighbor resource purchasing). The catch here is that you lose that gold piece to your opponent, but they will not be able to use that resource until the beginning of their turn as active player. Most buildings will have benefits printed on them that either take effect immediately or when triggered by another action. When you Recruit an Adventurer, you are using your village’s buildings to attract them to your cause. Each Adventurer’s cost to recruit is printed on the side of the card, and these costs are paid by having the matching symbols on building cards in your village. Once recruited, these Adventurers can also enact conditional abilities similar to building cards, but usually will be advantages to final VP scores. By taking the Tax action you will take one gold from the bank and draw a building card from the offer or the deck.
Now this all seems pretty easy and I have only really mentioned one form of tension by blocking opponents’ use of their own resources if you spend a gold to use it on your turn. Since you reclaim all gold on your castle and resource cards in your village at the beginning of your turn this should cause no problems, right? Well, VoV also uses the follow mechanic that has been employed by other games previously. When you are the active player you choose which action you want to take on your turn, complete that action, and then the same action is offered to your opponents for them to take at a disadvantage. Example: I choose Tax as my action, so I take my gold and my card and my turn is over. Then, going around the table, each player can decide to follow my action but are only able to take a building card as a follow action. No gold. Each action has a Lead and Follow benefit, so you are always paying attention during the game, even on others’ turns because you might still benefit from the chosen actions.
Play continues like this with active player Lead actions and possible others’ Follow actions until someone triggers the end game condition. Then everyone completes the turn and VPs from all cards in your tableau are added (including gold pieces you collected). Most VPs wins the game of Villages of Valeria!
Components. Okay, I have to admit that I have the Kickstarter Deluxe version of this game so I am only speaking from experience with that version. The cards are of really good quality. The gold tokens and active player castle token are great, but the action tracker we found a bit cumbersome to use so we just, like, didn’t. The building tracker and castleeples are great as well. The art is by The Mico, and I just love his art style, so that’s a big positive for me. Overall, the components are really really nice.
So why do I love this game? Well, it’s really a mashup of mechanics that work well for me. I love the Lead/Follow mechanic. I love 7 Wonders, so borrowing some of those mechanics and nuances is a great fit for me. I absolutely LOVE The Mico’s artwork on every Valeria game. No two games of VoV will be alike because the amount of cards that come inside the box (and growing with every expansion) gives such a diverse gaming experience that I love playing. If you like any of the Valeria games and you have yet to try Villages of Valeria you MUST find a copy. You will be drawn in by the familiar feel of Valeria and mechanics from classic games that will surely delight. We at Purple Phoenix Games give this gem a bustling 20 / 24. Long live Valeria!
https://purplephoenixgames.wordpress.com/2019/04/05/villages-of-valeria-review/
Dana (24 KP) rated A Court of Mist and Fury in Books
Mar 23, 2018
Wow. Just wow. There are going to be spoilers in this review, so read at your own peril.
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 22 Mar 2018, I have read it about 10 times
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 22 Mar 2018, I have read it about 10 times