Kuvira is the star of this miniseries, no doubt. She is awesome.
The end to the 'Ruins of the Empire' arc of 'The Legend of Korra' comics contains twists and turns, and stuff that is well developed and worth getting excited for. Its drama is worth the hype; worth the investment. As well as Kuvira, it showcases the Beifong women, by blood - three generations of them. The female empowerment isn't lost.
There was no need for me to be worried about how Korra and Asami are going to get through everything together this time round. They are sweet. They are part of the beating heart of the comics. I don't know exactly how to say anything else concerning Korrasami without revealing spoilers, but...they definitely share a bed. I'll leave it at that.
I only wish 'Ruins of the Empire' could have been a little longer, and that more characters had more to do and say. Korra might as well not be the Avatar for all the importance that's placed on who she is in this. The Avatar doesn't factor into anything, and I swear she only uses her airbending - once, on one page - in 'Part Three', the climactic end. It's good that her not using her fists and physical fighting prowess is part of her character development; leaving her with her tactical brains and words to solve problems. But her using her bending powers at all is missed. Is Korra even the protagonist in 'The Legend of Korra' anymore?
It's Kuvira who receives the most panel time. Not that her redemption arc isn't strongly written and believable. It is. And it's pretty amazing; I am proud of it. However, maybe Kuvira and Korra could have worked together, side by side, in a better substantial partnership. In clear contrast to their former deadly enemy status. Have them work through their differences - and similarities - as equals, in the same story. Just a thought.
But Kuvira's arc is good enough on its own, I suppose.
'The Legend of Korra: Ruins of the Empire, Part Three' is ultimately about trust, forgiveness, and family, as well as building a democracy. All of which takes time, and must be earned. It's about a family of women, coming to terms with one another's past actions, and loving each other anyway. It's about female relationships, in their myriad natures. Oh glory.
'Ruins of the Empire' is more heavily sci-fi than fantasy, which is the polar opposite to the previous comic series, 'Turf Wars'. The variety, as well as the relevant political angle, is appreciated; even if it is slightly done at the expense of Korra herself as the main character and the Avatar.
Final Score: 4/5
Friday 28 February 2020
Wednesday 26 February 2020
Non-Fiction Book Review - 'What Would Alice Do?: Advice for the Modern Woman' by Lewis Carroll, Lauren Laverne (Foreword)
A fun little treat - a sweet cake palate cleanser - for any 'Alice in Wonderland' fan.
Containing quotes from 'Alice's Adventures in Wonderland' and 'Through the Looking Glass', that showcase the best of young Alice, 'What Would Alice Do?' is a weeny advice book that's full of stuff and nonsense - and might be the most sensible thing you can put in your pocket. Throughout your day, every day, you can take it out and look at it, and chuckle and learn some insights. Some sage wisdom and observations.
You won't forget just how hilarious Lewis Carroll could be after reading bits of 'What Would Alice Do?'.
Alice is more than a mere seven-year-old Victorian girl. She was a heroine ahead of her time. Dealing with nonsense worlds around her, often like a boss. In fact, according to Lauren Laverne in the foreword:
'Where would we be without Alice in Wonderland? Alice was the very first female heroine in children's fiction; Lewis Carroll has been credited with inventing the genre itself when he created her.'
Little Alice was the precursor to Matilda Wormwood and Hermione Granger.
Curiouser and curiouser indeed.
There could very well be a lot to learn from Alice. She is stupendously inspirational.
'What Would Alice Do?: Advice for the Modern Woman' - by The Macmillan Alice.
'...as with everything in Wonderland, there is more to Alice than meets the eye.
Clear-headed, logical, spirited and strong, Alice consistently challenges authority. Hers is the lone, sane voice speaking out[...] There is much we can learn from Alice about honesty, adventure and making your way in a world that doesn't always (ever!) make sense.' - Lauren Laverne
Final Score: 4/5
Containing quotes from 'Alice's Adventures in Wonderland' and 'Through the Looking Glass', that showcase the best of young Alice, 'What Would Alice Do?' is a weeny advice book that's full of stuff and nonsense - and might be the most sensible thing you can put in your pocket. Throughout your day, every day, you can take it out and look at it, and chuckle and learn some insights. Some sage wisdom and observations.
You won't forget just how hilarious Lewis Carroll could be after reading bits of 'What Would Alice Do?'.
Alice is more than a mere seven-year-old Victorian girl. She was a heroine ahead of her time. Dealing with nonsense worlds around her, often like a boss. In fact, according to Lauren Laverne in the foreword:
'Where would we be without Alice in Wonderland? Alice was the very first female heroine in children's fiction; Lewis Carroll has been credited with inventing the genre itself when he created her.'
Little Alice was the precursor to Matilda Wormwood and Hermione Granger.
Curiouser and curiouser indeed.
There could very well be a lot to learn from Alice. She is stupendously inspirational.
'What Would Alice Do?: Advice for the Modern Woman' - by The Macmillan Alice.
'...as with everything in Wonderland, there is more to Alice than meets the eye.
Clear-headed, logical, spirited and strong, Alice consistently challenges authority. Hers is the lone, sane voice speaking out[...] There is much we can learn from Alice about honesty, adventure and making your way in a world that doesn't always (ever!) make sense.' - Lauren Laverne
Final Score: 4/5
Saturday 22 February 2020
Graphic Novel Review - 'Harleen (Harleen #1-3)' by Stjepan Šejić
That was... intense.
Terrifying.
Divine.
Sublime.
Adult.
Human.
Everything Harley Quinn deserves. Has always deserved.
I can't believe that basic, misogynistic trash like 'The Killing Joke' is a mainstay classic in Batman and Joker graphic novels, when there exists well thought out, vastly and dangerously interesting, powerfully symbolic, intellectual, psychological, disturbing, and mature titles such as 'Harleen' in the same medium. It is early days, grant you, but to myself and many it has already earned its acclaim as a modern classic.
What can I say what loads of other reviewers haven't already? I'll try.
Harleen Quinzel is a doctor of psychology. A serious one, and a grown woman. There is nothing cutesy, marketable, digestible, elementary or banal about her and her state of mind.
There is a reason why this graphic novel is titled 'Harleen' and not 'Harley'. It is about her before life as a career woman, astute and rational, about to make a revolutionary breakthrough in criminal and war soldier psychology. Her newfound theory is about what drives a person to cut off empathy altogether; about what makes a sociopath. If only others will take her seriously. Her theory can be provided with further proof by landing a job interviewing the inmates of Arkham Asylum.
What could go wrong?
'Harleen' is about one unappreciated woman's slow and steady decent into the madness she is trying to unravel and make sense of.
This is her story.
This is her tragedy.
It is sad and scary how fragile sanity can be when living in a dark and warped society. Even the most levelheaded and educated of people can succumb to the disease of madness (or is madness a cure?!). If everyone is a little messed up in their own individual way, anyone can be drawn and seduced into a world of anarchy and toxic love, by coolly calculated mania.
The Joker - narcissist, psychopath, sociopath, lunatic, unhinged, attention seeker, persuader, manipulative monster. Everything you want him to be, for his own benefit. He is as evil and alluring as he's ever been.
In 'Harleen', the Joker and Harley met before Arkham Asylum. When he pointed a gun at her head during a heist (a caper, really). That's only the start of their "love". The clown prince of crime says to Dr. Harleen Quinzel, as her patient, that Gotham - that any attempt at civilisation - is a city of monsters. That the enraged, the insane, and the violent are the fully realised and true personages of humanity. Anyone is capable of being a killer. Harleen is given a lot of reasons to believe it.
It is twisted. And intoxicating.
But can there be a cure? A hope? Can anyone so far gone come back, and climb out of the abyss?
Even the Batman seems unsure and hopeless about the Joker's possible redemption, when Harleen is given a chance to ask his opinion on the matter.
How could someone as smart - and scared, for she has nightmares about the Joker as well - as Harleen be taken in by an obvious monster? What would make her think that he can be helped, that he WANTS to be helped? She is aware of how much of a manipulator and a liar he is. He is a psychotic serial killer who pointed a gun at her.
But by her methods, can she crack his code, his mind, his true feelings? Draw out her Mr. Jay's vulnerable and human side? Heal his scars? Add new ones, as he smiles? And she smiles. Who's the doctor and the patient - who holds the actual power - in this relationship?
Thus begins the toxic cycle downwards, towards abuse and ruin. 'Harleen' is one of the few abuse stories that seriously knows it's about abuse. It understands what it means. 'Harleen' is 'Little Red Riding Hood' (the parallel is beautifully drawn in one page) for psychology students and anyone over twenty. It is a catastrophe (with many layers), an exploration of psychosis - not a love story, make no mistake.
My, Grandma...what fascinating mental issues you have.
The better to draw you near, my darling.
Dr Harleen is also Alice (the Mad Hatter even calls her that when she interviews him), descending deeper into the maddening Wonderland, perhaps never to return.
To reveal more would spoil the impact - the punch(line) of the tragedy - I think.
If you are familiar with the work of Stjepan Šejić, then you know that he does "adult" very well, and that his artwork is just as impressive. 'Harleen' is no exception. The art is pretty much perfect; dark, wonderfully detailed, and shocking. The symbolism - in the panels set in reality, in dreams, and in mad episodes of the psyche - is gorgeously done. His hard work shows on every single panel of this project totalling 208 pages.
Other things I have to mention:
It's small, but it's there: hints of an establishing relationship between Harleen and Poison Ivy are in 'Harleen'. Šejić even made draft pages that depict Ivy as Harley's saviour - and true soulmate. He must be a fan of them together. Good - they've needed to get back to that development for years now.
Harvey Dent/Two-Face is also present, and his story echos and collides with Harleen's brilliantly.
It is Bruce Wayne's foundation which funds Harleen's research and gives her a place at Arkham (in more ways than one, as is the case) in the first place. Bruce expresses remorse over this and his possible bad judgement at the end of the graphic novel. He says the Joker took her work and her kindness and used it against her, and blames himself for not foreseeing anything like it happening. Though of course many factors are to blame for the doctor becoming Harley Quinn. Could Batman be her beacon to her lost and shattered sanity? Who knows. There are no easy questions and solutions in 'Harleen'.
Wow. What an experience.
Stjepan Šejić's 'Harleen' is, without a shadow and mirror of a doubt, one of the best 'Harley Quinn' stories ever written and drawn. If not, one of the best stories to feature Batman, period. It, 'Mad Love', and 'Harley Quinn: Breaking Glass', a YA retelling, are among my absolute favourites of the character's origins and interpretations in comics. The adult retelling delves deeper into Harley's psyche - her mental processes, her dementia - than any other telling of her origin I've seen. It is her case study, told from her point of view.
'Harleen' is a horror story not for the very faint of heart and mind, but it is fascinating and terrifically told. Those interested in human nature, cynical or not, nihilistic or not, may get a kick out of it, too.
Harley Quinn - An ordinary and promising doctor who went in too deep, who had made assumptions, and came out the other end turned into a sadistic and violent murderer. And then she turned into an antiheroine, as is canon nowadays. Harley can be as charismatic, mad, cunning and evil as her puddin', the Joker; but unlike him, she has a hope of redemption. Because she has a clear, solid past. And goals.
I'll leave off my scattered mess of a review with these quotes, then bid farewell and an "enough said":
'I spent the rest of the day feeling disgusted with myself for letting such a thought even enter my mind...Little did I know it was far from over...He had stolen my nights...my days...and my smile...Next...next would be my heart.'
'It felt right. Almost prophetic...Delusional though it was in the end, I truly believed it...First, I would save him...then I would save this city of monsters...What a wonderful dream it was...'
'The road to hell is paved with good intentions. On that road I saw a pale man...And he smiled at me.'
Final Score: 5/5
P.S. The one legitimate negative I can give 'Harleen' is: Batgirl is mentioned to be in action once, in Arkham, but she is never seen! Robin makes an appearance but not Batgirl! Aargh!
Heh. Getting mad over the objectively little things...
Terrifying.
Divine.
Sublime.
Adult.
Human.
Everything Harley Quinn deserves. Has always deserved.
I can't believe that basic, misogynistic trash like 'The Killing Joke' is a mainstay classic in Batman and Joker graphic novels, when there exists well thought out, vastly and dangerously interesting, powerfully symbolic, intellectual, psychological, disturbing, and mature titles such as 'Harleen' in the same medium. It is early days, grant you, but to myself and many it has already earned its acclaim as a modern classic.
What can I say what loads of other reviewers haven't already? I'll try.
Harleen Quinzel is a doctor of psychology. A serious one, and a grown woman. There is nothing cutesy, marketable, digestible, elementary or banal about her and her state of mind.
There is a reason why this graphic novel is titled 'Harleen' and not 'Harley'. It is about her before life as a career woman, astute and rational, about to make a revolutionary breakthrough in criminal and war soldier psychology. Her newfound theory is about what drives a person to cut off empathy altogether; about what makes a sociopath. If only others will take her seriously. Her theory can be provided with further proof by landing a job interviewing the inmates of Arkham Asylum.
What could go wrong?
'Harleen' is about one unappreciated woman's slow and steady decent into the madness she is trying to unravel and make sense of.
This is her story.
This is her tragedy.
It is sad and scary how fragile sanity can be when living in a dark and warped society. Even the most levelheaded and educated of people can succumb to the disease of madness (or is madness a cure?!). If everyone is a little messed up in their own individual way, anyone can be drawn and seduced into a world of anarchy and toxic love, by coolly calculated mania.
The Joker - narcissist, psychopath, sociopath, lunatic, unhinged, attention seeker, persuader, manipulative monster. Everything you want him to be, for his own benefit. He is as evil and alluring as he's ever been.
In 'Harleen', the Joker and Harley met before Arkham Asylum. When he pointed a gun at her head during a heist (a caper, really). That's only the start of their "love". The clown prince of crime says to Dr. Harleen Quinzel, as her patient, that Gotham - that any attempt at civilisation - is a city of monsters. That the enraged, the insane, and the violent are the fully realised and true personages of humanity. Anyone is capable of being a killer. Harleen is given a lot of reasons to believe it.
It is twisted. And intoxicating.
But can there be a cure? A hope? Can anyone so far gone come back, and climb out of the abyss?
Even the Batman seems unsure and hopeless about the Joker's possible redemption, when Harleen is given a chance to ask his opinion on the matter.
How could someone as smart - and scared, for she has nightmares about the Joker as well - as Harleen be taken in by an obvious monster? What would make her think that he can be helped, that he WANTS to be helped? She is aware of how much of a manipulator and a liar he is. He is a psychotic serial killer who pointed a gun at her.
But by her methods, can she crack his code, his mind, his true feelings? Draw out her Mr. Jay's vulnerable and human side? Heal his scars? Add new ones, as he smiles? And she smiles. Who's the doctor and the patient - who holds the actual power - in this relationship?
Thus begins the toxic cycle downwards, towards abuse and ruin. 'Harleen' is one of the few abuse stories that seriously knows it's about abuse. It understands what it means. 'Harleen' is 'Little Red Riding Hood' (the parallel is beautifully drawn in one page) for psychology students and anyone over twenty. It is a catastrophe (with many layers), an exploration of psychosis - not a love story, make no mistake.
My, Grandma...what fascinating mental issues you have.
The better to draw you near, my darling.
Dr Harleen is also Alice (the Mad Hatter even calls her that when she interviews him), descending deeper into the maddening Wonderland, perhaps never to return.
To reveal more would spoil the impact - the punch(line) of the tragedy - I think.
If you are familiar with the work of Stjepan Šejić, then you know that he does "adult" very well, and that his artwork is just as impressive. 'Harleen' is no exception. The art is pretty much perfect; dark, wonderfully detailed, and shocking. The symbolism - in the panels set in reality, in dreams, and in mad episodes of the psyche - is gorgeously done. His hard work shows on every single panel of this project totalling 208 pages.
Other things I have to mention:
It's small, but it's there: hints of an establishing relationship between Harleen and Poison Ivy are in 'Harleen'. Šejić even made draft pages that depict Ivy as Harley's saviour - and true soulmate. He must be a fan of them together. Good - they've needed to get back to that development for years now.
Harvey Dent/Two-Face is also present, and his story echos and collides with Harleen's brilliantly.
It is Bruce Wayne's foundation which funds Harleen's research and gives her a place at Arkham (in more ways than one, as is the case) in the first place. Bruce expresses remorse over this and his possible bad judgement at the end of the graphic novel. He says the Joker took her work and her kindness and used it against her, and blames himself for not foreseeing anything like it happening. Though of course many factors are to blame for the doctor becoming Harley Quinn. Could Batman be her beacon to her lost and shattered sanity? Who knows. There are no easy questions and solutions in 'Harleen'.
Wow. What an experience.
Stjepan Šejić's 'Harleen' is, without a shadow and mirror of a doubt, one of the best 'Harley Quinn' stories ever written and drawn. If not, one of the best stories to feature Batman, period. It, 'Mad Love', and 'Harley Quinn: Breaking Glass', a YA retelling, are among my absolute favourites of the character's origins and interpretations in comics. The adult retelling delves deeper into Harley's psyche - her mental processes, her dementia - than any other telling of her origin I've seen. It is her case study, told from her point of view.
'Harleen' is a horror story not for the very faint of heart and mind, but it is fascinating and terrifically told. Those interested in human nature, cynical or not, nihilistic or not, may get a kick out of it, too.
Harley Quinn - An ordinary and promising doctor who went in too deep, who had made assumptions, and came out the other end turned into a sadistic and violent murderer. And then she turned into an antiheroine, as is canon nowadays. Harley can be as charismatic, mad, cunning and evil as her puddin', the Joker; but unlike him, she has a hope of redemption. Because she has a clear, solid past. And goals.
I'll leave off my scattered mess of a review with these quotes, then bid farewell and an "enough said":
'I spent the rest of the day feeling disgusted with myself for letting such a thought even enter my mind...Little did I know it was far from over...He had stolen my nights...my days...and my smile...Next...next would be my heart.'
'It felt right. Almost prophetic...Delusional though it was in the end, I truly believed it...First, I would save him...then I would save this city of monsters...What a wonderful dream it was...'
'The road to hell is paved with good intentions. On that road I saw a pale man...And he smiled at me.'
Final Score: 5/5
P.S. The one legitimate negative I can give 'Harleen' is: Batgirl is mentioned to be in action once, in Arkham, but she is never seen! Robin makes an appearance but not Batgirl! Aargh!
Heh. Getting mad over the objectively little things...
Sunday 16 February 2020
Book Review - 'The Sisters Grimm' by Menna van Praag
DNF at 260 pages out of 481.
My most anticipated book of 2020 - it contains practically all of my favourite things - and it turns into my biggest, most heartbreaking disappointment.
Normally I don't rate books I haven't finished and have at best skimmed to the end. But I feel that 'The Sisters Grimm' has earned its one star, after over halfway through reading it and receiving the following:
Nothing happening. Stupid characters. Weak willed, pathetic and male dependant female leads. A slow pace despite nice and addictive writing. Crap hetero romances and nonexistent "sex" scenes straight out of a bad Harlequin paperback. Absence of plot, action, cool magic, and female support, solidarity and empowerment.
I couldn't take it anymore.
I'll sum up my grievances in bullet points, because I want to finish this review quickly and get it all out of my system, out of my life. Let's get it over and done with:
• For a so-called feminist text, 'The Sisters Grimm' contains four female leads who, while not boring or one note, are entirely dependent on the approval of and the attraction of men in every aspect of their lives. Some men and boys save their lives, socially and financially. So much for female empowerment and independence. The four Grimm sisters are drawn sexually to clearly, obviously shitty men. Men who are stalkers and won't take no for an answer, no matter how many times they are told to piss off. Men who are like their father, the demonic, incestuous rapist Wilhelm Grimm, who has done absolutely nothing to earn their respect and admiration. For supposedly smart, modern girls, these sisters act like they've never heard of feminism before; have never heard of double standards, rape culture and male entitlement. They have no self-preservation skills, nor common sense, whatsoever. Where are their female friends? The living female family members who aren't a burden to them? For fuck's sake, even the only gay sister gives attractive descriptions of certain men she feels drawn to; I don't think she describes her girlfriend in any kind of desirable detail, even when they kiss. The only explicitly queer couple's relationship is as limp and lifeless as a gutted fish; it exists, though it's barely present, and that's that.
• Speaking of relationships, all of them are rushed, weak, and have no chemistry. And they end up taking over everything - including the fantasy and sisterhood elements which this book advertised! All the romance tropes are here: the bad boy (who is a literal serial killer of women, of Grimm girls, not that that will deter his target, the main Grimm sister, for long; she'll love him regardless, because of course she does. Also he's her half brother); the dogeared Nice Guy with no social skills who's impervious to the word "no"; another, yet genuinely nice and funny guy who will turn out to be evil (because of course!); the rich bastard (whose name is actually Wolfe, because subtlety!), who can buy and sell your soul and doesn't try to hide his true nature, and yet his female target is hormonal putty in his slimy hands because she's an idiot; another rich bastard who can charm even gay women, make them momentarily forget their girlfriends, he's that good, etc. 'The Sisters Grimm' would fit right in with the 'Twilight' clones of the mid-to-late 2000s'. And I thought it would be a mature, adult feminist fantasy book from 2020. The sex the sisters have happen off page, and the beginning and aftermath of them are laughable and childish.
• Only one magical Grimm sister, Goldie - the one who loves a bad boy who secretly is on a mission to kill her (you can guess where that will head to) - is given a first person narrative in her POV segments. She's white, blonde, blue eyed, heterosexual, obviously beautiful but doesn't know it (again, sound familiar?), and she's said to be the most powerful Grimm sister in the world. Goldie is, bright as day, meant to be the protagonist and the most important Grimm sister. Do I need to explain the unfortunate implications there? If that wasn't bad enough, she needs a man to help her realise her potential. The man being her serial killer lover. And half brother. Goldie has no female friends, no living female relatives - she doesn't meet her fellow Grimm sisters until much later on. The waiting is dreadful, and not in a good way. Plus she's gullible, self-destructive, an idiot, a crybaby, and perhaps the most male dependent of the sisters. Goldie, like everyone else, is only "smart" out of either plot convenience or dumb luck.
• The Grimm sisters are only seventeen - I had to keep reminding myself of this as I read on, since they act a lot older than their years; take on a lot of adult responsibilities and even adult legal action. And at the same time they do and say such stupid things that I have to wonder if they are still mentally and emotionally little girls up to thirteen who believe in fairy tales. Seeing as fairy tales and growing up are (purportedly) major themes in the book, I'm not sure if that was the intent or not.
• Structurally, the novel is a mess. Details about a couple of the sisters that seem important at the beginning, are dropped and forgotten about afterwards (like one sister's ambition to be a blacksmith, and another loving to fly in a glider). The "plot", such as it is, keeps getting interrupted by flashback chapters -'Over a decade ago', and 'A little over a decade ago' etc - to when the girls were very young (we also get the perspective of one male, the serial killer, like we should care; and occasionally the perspectives of other female characters at random - again, why should we care?). These don't seem to serve much purpose, other than showing a loss of innocence, and of dreams and the fantastical, I suppose. Random scenes go nowhere and could have easily been cut. Some scenes consist of nothing but characters talking to each other about nothing. How exciting. How purposeful. Ugh, so much padding. Where is the action and magic and sisterhood I was promised? I don't care for hetero relationship drama - it's boring!
• The creepy and incestuous overtones, initiated by Wilhelm Grimm, who's a demon/god/puppetmaster/chessmaster in the book, are never even mentioned, much less remarked upon, as far as I've read. Technically, the thousands of Grimm sisters on earth, who once they turn eighteen have to kill or be killed by their star soldier brothers, are related to each other as not just sisters - their mothers are their sisters as well. I won't go into any further details on this point; it's too disgusting and WTF.
• The Grimm sisters also have to choose whether to be light or dark, good or evil, powerful or passive, when they turn eighteen. All is determined by their all-powerful, storyteller father; a god, a sadist, a serial rapist and murderer (I don't believe this is ever acknowledged, however)- a symbol of the patriarchy. There is no in-between, no grey morality, no thought or discussion as to what is socially and culturally considered to be good or bad in women, and the girls don't have a choice in the matter. Then again, the soldier brothers, bound by violent, patriarchal demands, like those seen in traditional fairy tales, don't have much choice either - if they don't kill they'll die, though some still enjoy murdering women - but at least they are made aware of their identity and destiny earlier on than the sisters. And why don't the Grimm brothers seem to have mothers? Why do they get to be born stars and not fully human? Because patriarchy? The book has made too many sexist mistakes already for me to give it a pass on an unaddressed worldbuilding point.
• 'The Sisters Grimm', while containing lovely and sometimes gorgeous descriptions, and is written fluidly for the most part, is overall very tedious. In content, in character motivations, in its glacial pace. I was excited and overjoyed by the first hundred pages as I was getting to know the sisters, but once the rushed, hetero relationships happen, it all becomes so old, stale and boring after a while. Where is the action? When are the Sisters Grimm going to meet already? In the real world, and not in dreams (or in the fantasy realm of Everwhere, same thing) from when they were children. The book is far longer than it needed to be, containing mundane and pointless scenes.
Whatever, I don't really care anymore.
What a ripoff. What a disappointment 'The Sisters Grimm' turned out to be. The great ideas, the potential - all gone to waste. I love Menna van Praag's other book, 'The House at the End of Hope Street', which was another reason why I was looking forward to her newest novel - her newest fantasy feminist novel, on an epic, magical girl scale!
Sadly, it did not deliver for me. It's yet more faux feminism BS. And in 2020 as well.
What bodes well anymore?
Final Score: 1/5
My most anticipated book of 2020 - it contains practically all of my favourite things - and it turns into my biggest, most heartbreaking disappointment.
Normally I don't rate books I haven't finished and have at best skimmed to the end. But I feel that 'The Sisters Grimm' has earned its one star, after over halfway through reading it and receiving the following:
Nothing happening. Stupid characters. Weak willed, pathetic and male dependant female leads. A slow pace despite nice and addictive writing. Crap hetero romances and nonexistent "sex" scenes straight out of a bad Harlequin paperback. Absence of plot, action, cool magic, and female support, solidarity and empowerment.
I couldn't take it anymore.
I'll sum up my grievances in bullet points, because I want to finish this review quickly and get it all out of my system, out of my life. Let's get it over and done with:
• For a so-called feminist text, 'The Sisters Grimm' contains four female leads who, while not boring or one note, are entirely dependent on the approval of and the attraction of men in every aspect of their lives. Some men and boys save their lives, socially and financially. So much for female empowerment and independence. The four Grimm sisters are drawn sexually to clearly, obviously shitty men. Men who are stalkers and won't take no for an answer, no matter how many times they are told to piss off. Men who are like their father, the demonic, incestuous rapist Wilhelm Grimm, who has done absolutely nothing to earn their respect and admiration. For supposedly smart, modern girls, these sisters act like they've never heard of feminism before; have never heard of double standards, rape culture and male entitlement. They have no self-preservation skills, nor common sense, whatsoever. Where are their female friends? The living female family members who aren't a burden to them? For fuck's sake, even the only gay sister gives attractive descriptions of certain men she feels drawn to; I don't think she describes her girlfriend in any kind of desirable detail, even when they kiss. The only explicitly queer couple's relationship is as limp and lifeless as a gutted fish; it exists, though it's barely present, and that's that.
• Speaking of relationships, all of them are rushed, weak, and have no chemistry. And they end up taking over everything - including the fantasy and sisterhood elements which this book advertised! All the romance tropes are here: the bad boy (who is a literal serial killer of women, of Grimm girls, not that that will deter his target, the main Grimm sister, for long; she'll love him regardless, because of course she does. Also he's her half brother); the dogeared Nice Guy with no social skills who's impervious to the word "no"; another, yet genuinely nice and funny guy who will turn out to be evil (because of course!); the rich bastard (whose name is actually Wolfe, because subtlety!), who can buy and sell your soul and doesn't try to hide his true nature, and yet his female target is hormonal putty in his slimy hands because she's an idiot; another rich bastard who can charm even gay women, make them momentarily forget their girlfriends, he's that good, etc. 'The Sisters Grimm' would fit right in with the 'Twilight' clones of the mid-to-late 2000s'. And I thought it would be a mature, adult feminist fantasy book from 2020. The sex the sisters have happen off page, and the beginning and aftermath of them are laughable and childish.
• Only one magical Grimm sister, Goldie - the one who loves a bad boy who secretly is on a mission to kill her (you can guess where that will head to) - is given a first person narrative in her POV segments. She's white, blonde, blue eyed, heterosexual, obviously beautiful but doesn't know it (again, sound familiar?), and she's said to be the most powerful Grimm sister in the world. Goldie is, bright as day, meant to be the protagonist and the most important Grimm sister. Do I need to explain the unfortunate implications there? If that wasn't bad enough, she needs a man to help her realise her potential. The man being her serial killer lover. And half brother. Goldie has no female friends, no living female relatives - she doesn't meet her fellow Grimm sisters until much later on. The waiting is dreadful, and not in a good way. Plus she's gullible, self-destructive, an idiot, a crybaby, and perhaps the most male dependent of the sisters. Goldie, like everyone else, is only "smart" out of either plot convenience or dumb luck.
• The Grimm sisters are only seventeen - I had to keep reminding myself of this as I read on, since they act a lot older than their years; take on a lot of adult responsibilities and even adult legal action. And at the same time they do and say such stupid things that I have to wonder if they are still mentally and emotionally little girls up to thirteen who believe in fairy tales. Seeing as fairy tales and growing up are (purportedly) major themes in the book, I'm not sure if that was the intent or not.
• Structurally, the novel is a mess. Details about a couple of the sisters that seem important at the beginning, are dropped and forgotten about afterwards (like one sister's ambition to be a blacksmith, and another loving to fly in a glider). The "plot", such as it is, keeps getting interrupted by flashback chapters -'Over a decade ago', and 'A little over a decade ago' etc - to when the girls were very young (we also get the perspective of one male, the serial killer, like we should care; and occasionally the perspectives of other female characters at random - again, why should we care?). These don't seem to serve much purpose, other than showing a loss of innocence, and of dreams and the fantastical, I suppose. Random scenes go nowhere and could have easily been cut. Some scenes consist of nothing but characters talking to each other about nothing. How exciting. How purposeful. Ugh, so much padding. Where is the action and magic and sisterhood I was promised? I don't care for hetero relationship drama - it's boring!
• The creepy and incestuous overtones, initiated by Wilhelm Grimm, who's a demon/god/puppetmaster/chessmaster in the book, are never even mentioned, much less remarked upon, as far as I've read. Technically, the thousands of Grimm sisters on earth, who once they turn eighteen have to kill or be killed by their star soldier brothers, are related to each other as not just sisters - their mothers are their sisters as well. I won't go into any further details on this point; it's too disgusting and WTF.
• The Grimm sisters also have to choose whether to be light or dark, good or evil, powerful or passive, when they turn eighteen. All is determined by their all-powerful, storyteller father; a god, a sadist, a serial rapist and murderer (I don't believe this is ever acknowledged, however)- a symbol of the patriarchy. There is no in-between, no grey morality, no thought or discussion as to what is socially and culturally considered to be good or bad in women, and the girls don't have a choice in the matter. Then again, the soldier brothers, bound by violent, patriarchal demands, like those seen in traditional fairy tales, don't have much choice either - if they don't kill they'll die, though some still enjoy murdering women - but at least they are made aware of their identity and destiny earlier on than the sisters. And why don't the Grimm brothers seem to have mothers? Why do they get to be born stars and not fully human? Because patriarchy? The book has made too many sexist mistakes already for me to give it a pass on an unaddressed worldbuilding point.
• 'The Sisters Grimm', while containing lovely and sometimes gorgeous descriptions, and is written fluidly for the most part, is overall very tedious. In content, in character motivations, in its glacial pace. I was excited and overjoyed by the first hundred pages as I was getting to know the sisters, but once the rushed, hetero relationships happen, it all becomes so old, stale and boring after a while. Where is the action? When are the Sisters Grimm going to meet already? In the real world, and not in dreams (or in the fantasy realm of Everwhere, same thing) from when they were children. The book is far longer than it needed to be, containing mundane and pointless scenes.
Whatever, I don't really care anymore.
What a ripoff. What a disappointment 'The Sisters Grimm' turned out to be. The great ideas, the potential - all gone to waste. I love Menna van Praag's other book, 'The House at the End of Hope Street', which was another reason why I was looking forward to her newest novel - her newest fantasy feminist novel, on an epic, magical girl scale!
Sadly, it did not deliver for me. It's yet more faux feminism BS. And in 2020 as well.
What bodes well anymore?
Final Score: 1/5
Saturday 15 February 2020
Graphic Novel Review - 'The Legend of the Fire Princess (She-Ra Graphic Novel #1)' by Gigi D.G. (Writer), Noelle Stevenson (Story), Paulina Ganucheau (Artist), Betsy Peterschmidt (Visual Artist), Eva de la Cruz (Visual Artist)
A fun and serviceable comic book story that feels like it could have been an episode of the 'She-Ra and the Princesses of Power' TV series (set between seasons two and three, to be precise). There are no chapters or issues; just a stream flow of colour, magic, walking around and talking à la 'Lord of the Rings', friendships past and present, and battles.
There is one mission: to find the runestone of the Fire Princess of legend, which is said to have wiped out its entire kingdom after its power corrupted the Fire Princess and left her heartbroken and alone in the end. Adora/She-Ra and her friends set off to find the runestone in order to possibly heal it and use it for the Horde vs the Rebellion war on Etheria, or destroy it if necessary.
I really like the funny banter amongst Adora, her Best Friends Squad, and the other princesses; especially from Mermista (my favourite princess besides She-Ra and Scorpia) and Bow. And I especially love the hilarious, heartwarming and kind of sad relationship of the buddy duo Catra and Scorpia (highly reluctantly on Catra's part). Scorpia is too precious. There is a lot from Entrapta as well. Nearly everyone gets their chance to shine, to develop.
Just... don't expect anything epic, or anything spectacular on a larger scale. There are nice little character moments, and lessons learned between friends, but this is a short graphic novel, so full potential is not given to some individual characters, like Perfuma, and even Adora, bizarrely. The Legend of the Fire Princess itself, which, as the title of the book, you'd think would have a huge impact on the story and the characters, in fact barely factors in for the majority of it all. It's only given potent significance at the beginning, when the legend is first told to Adora (and the reader), and at the end, when further thoughts are given to it and what the characters have learned from it based on their own recent experiences. Its themes are subtle throughout the adventure, and then it's treated like an overt cautionary tale. She-Ra's struggles and development throughout happen at a fast pace; perhaps not given the weight it deserves. There is hardly an attempt at a parallel between She-Ra and the tragic Fire Princess.
At least it's clear that She-Ra/Adora has loving and supportive friends by her side, who share in her power, and who love best friend hugs.
Also, the artwork by the great Paulina Ganucheau of 'Zodiac Starforce' fame, while fitting and similar to the cartoon for the most part, can be a bit awkward-looking, when it comes to facial expressions. And mouths and teeth *shudders*.
But 'The Legend of the Fire Princess (She-Ra Graphic Novel #1)' is still sweet, funny, emotional, and dynamic for any 'She-Ra and the Princesses of Power' fan. It's an episode in comic form, and there's nothing wrong with that. It's faithful in that it is very gay and femme (Bow and Hordak are the only male characters) - I love the all-ages show for that. So I love this comic by an all-female creative team. (Gigi D.G. of 'Cucumber Quest' fame wrote the script - squeeee!)
I'll leave off my latest review of a 'She-Ra' related product by paraphrasing what I've said about 'The Princesses of Power' in past blog posts:
'It's an imperfect, colourful (in far more ways than one) little girl power gem of an animated series, for our times. It's magical girl power with depth and great relationship drama - so emotional, tragic even.'
What a commendable cartoon reboot.
(Sorry if this review is short for my usual style on books such as this. I'm quite sick at the time of writing)
Final Score: 3.5/5
There is one mission: to find the runestone of the Fire Princess of legend, which is said to have wiped out its entire kingdom after its power corrupted the Fire Princess and left her heartbroken and alone in the end. Adora/She-Ra and her friends set off to find the runestone in order to possibly heal it and use it for the Horde vs the Rebellion war on Etheria, or destroy it if necessary.
I really like the funny banter amongst Adora, her Best Friends Squad, and the other princesses; especially from Mermista (my favourite princess besides She-Ra and Scorpia) and Bow. And I especially love the hilarious, heartwarming and kind of sad relationship of the buddy duo Catra and Scorpia (highly reluctantly on Catra's part). Scorpia is too precious. There is a lot from Entrapta as well. Nearly everyone gets their chance to shine, to develop.
Just... don't expect anything epic, or anything spectacular on a larger scale. There are nice little character moments, and lessons learned between friends, but this is a short graphic novel, so full potential is not given to some individual characters, like Perfuma, and even Adora, bizarrely. The Legend of the Fire Princess itself, which, as the title of the book, you'd think would have a huge impact on the story and the characters, in fact barely factors in for the majority of it all. It's only given potent significance at the beginning, when the legend is first told to Adora (and the reader), and at the end, when further thoughts are given to it and what the characters have learned from it based on their own recent experiences. Its themes are subtle throughout the adventure, and then it's treated like an overt cautionary tale. She-Ra's struggles and development throughout happen at a fast pace; perhaps not given the weight it deserves. There is hardly an attempt at a parallel between She-Ra and the tragic Fire Princess.
At least it's clear that She-Ra/Adora has loving and supportive friends by her side, who share in her power, and who love best friend hugs.
Also, the artwork by the great Paulina Ganucheau of 'Zodiac Starforce' fame, while fitting and similar to the cartoon for the most part, can be a bit awkward-looking, when it comes to facial expressions. And mouths and teeth *shudders*.
But 'The Legend of the Fire Princess (She-Ra Graphic Novel #1)' is still sweet, funny, emotional, and dynamic for any 'She-Ra and the Princesses of Power' fan. It's an episode in comic form, and there's nothing wrong with that. It's faithful in that it is very gay and femme (Bow and Hordak are the only male characters) - I love the all-ages show for that. So I love this comic by an all-female creative team. (Gigi D.G. of 'Cucumber Quest' fame wrote the script - squeeee!)
I'll leave off my latest review of a 'She-Ra' related product by paraphrasing what I've said about 'The Princesses of Power' in past blog posts:
'It's an imperfect, colourful (in far more ways than one) little girl power gem of an animated series, for our times. It's magical girl power with depth and great relationship drama - so emotional, tragic even.'
What a commendable cartoon reboot.
(Sorry if this review is short for my usual style on books such as this. I'm quite sick at the time of writing)
Final Score: 3.5/5
Book Review - 'Once Upon a Unicorn Horn' by Beatrice Blue
Do you know how unicorns got their horns?
A very cute and magical children's picture book. Like a mixture of 'Where the Wild Things Are' (the little girl June is imaginative and wears a white bunny type costume and goes out exploring into the wild, only here it's more literal), a light pinch of 'The Tea Dragon Society', and a kids' fairy tale, in a good sense.
A forest, a "magic wand", a treehouse, little flying horses, ice cream, and oh yes, unicorns - what more could a child want? The art is delightful and precious.
And June's parents are total hippies. It's great.
Final Score: 4/5
A very cute and magical children's picture book. Like a mixture of 'Where the Wild Things Are' (the little girl June is imaginative and wears a white bunny type costume and goes out exploring into the wild, only here it's more literal), a light pinch of 'The Tea Dragon Society', and a kids' fairy tale, in a good sense.
A forest, a "magic wand", a treehouse, little flying horses, ice cream, and oh yes, unicorns - what more could a child want? The art is delightful and precious.
And June's parents are total hippies. It's great.
Final Score: 4/5
Sunday 9 February 2020
Graphic Novel Review - 'Shadow of the Batgirl' by Sarah Kuhn (Writer), Nicole Goux (Artist)
'Shadow of the Batgirl' is a YA graphic novel introduction to Cassandra Cain to mainstream audiences, similar to DC Ink titles such as 'Teen Titans: Raven', and 'Harley Quinn: Breaking Glass'.
The graphic novel is short, quiet and understated, but a great coming of age tale for Cassandra Cain. She is a teenage assassin trained from birth by her criminal father to be nothing but a killing machine, until one night, the horror of what she's doing comes crashing into her and turns her whole world upside down; in the form of one of her dying victims saying the word "Daughter" with fear and love in his eyes. "Daughter" is one of the very few words Cassandra understands - she was raised to know and interpret body language, not spoken and written language - or she thought she did. Her own father never said "Daughter" with love and care.
Confused, heartbroken and frightened, Cassandra runs away from the life of an assassin and organised crime. She ends up in a restaurant owned by an awesome, old Asian lady named Jackie (it's great that an Asian heroine has an Asian female mentor), and then she lives in secret in a library, where she tries to figure out who she is now, and if she can ever get away from who she was before.
By viewing the wheelchair bound Barbara Gordon teaching kids creative writing in a library circle, Cassandra learns to speak, read, and write. She decides she wants to be a hero, like Batgirl, a favourite topic of Babs', a hero who has mysteriously disappeared.
Both Barbara and Jackie become mentors and mother figures to this young girl who is new to the world. Cass is emerging from her father's dark, violent, loveless world a kindhearted if naive teen vigilante. Starting out small, in the library Cass will act to try to make her home a better place. In her hiding place and sanctuary in the library, she keeps books, newspaper articles, and a mouse she was going to kill (it is a symbol and reflection of herself, and Jackie calls her "little mouse"). She also experiences first love with a boy with his own dreams to chase, who also wishes to be who he wants, away from his parents' expectations.
But with all this newfound comfort, reeducation, and friendships and family, Cassandra's evil father is out there in Gotham, waiting for her to slip up and show herself, and she knows it. She panics, and may start hurting people again, and distancing herself away from them again, in the panic of her past...
'Shadow of the Batgirl' is a fresh take on Cassandra Cain's origin and how she came to be the new Batgirl. How wonderful that she is the hero of her own story again after many years! Author Sarah Kuhn (she of 'Heroine Complex' and 'I Love You So Mochi' fame) aimed to make an Asian girl the heroine and focal point in a story that is hers, and she succeeded. To date this is one of my favourite interpretations of Cassandra Cain's character.
Cass is tragic, withdrawn, secluded, yet kind of adorable and sweet in how hard she tries to be a good person, in defiance of how she was raised. She is a child - lithe, petite and nimble - looking at the world through new, untainted and un-brainwashed eyes. Cassandra is an abused, inhumanely sheltered and inexperienced teen seeking redemption after her traumatic, guilt-fuelled past.
Barbara Gordon in this story is more lighthearted and... I don't know, sillier, than what I'm used to. Odd given her backstory. But I guess a positive and nonetheless human attitude is laudable disability rep, and Babs gets to be active and present in most action scenes (how she keeps appearing in upper floors of buildings without elevators in sight, or even how she enters the library each day without ramps in sight, on the other hand...). Barbara is a gadget and techno geek, who creates a criminal tracking app called Oracle. Jackie is great and three dimensional, too, and she can fight! She can protect herself. Spoilers, but no one is ever a damsel in distress in this story - yey!
'Shadow of the Batgirl' contains exceptional diversity rep. However, there is no overt LBGTQA rep (I suspect a hint about Jackie, though, in a throwaway line about her passionate first kiss), and the book overall, as I've said, is a little too short. I want more of Cassandra Cain as Batgirl in her new costume, and not just in one panel at the end, darnit!
It can be read as slightly juvenile, but not simple. It explores a lot about Cass's character - as a case study and a coming of age journey, that's almost mundane when compared to the journeys of other DC heroes, and of other Gotham Bat family member's backstories, but that's not a bad thing. It's refreshing and, in a strange yet sensible and understandable angle, relatable.
Young girls are sure to fall in love with Cass, and so will love 'Shadow of the Batgirl'.
In addition, the artwork is cute, reminiscent of Noelle Stevenson.
Love too that it is primarily set in a library! And in a Chinese restaurant!
It's also worth noting that I read this comic shortly after seeing the new 'Birds of Prey' movie, which also features an alternative - though much more loosely adapted - interpretation of Cassandra Cain. In the film she isn't an assassin, but a foster kid and pickpocket, and she doesn't become Batgirl, who apparently does not and never has existed in the DC cinematic universe. They'd better fix this soon or else. Anyway, I'm glad that this young Asian heroine is receiving the recognition she deserves in the mainstream, with different reinventions and takes to her character.
Final Score: 4/5
The graphic novel is short, quiet and understated, but a great coming of age tale for Cassandra Cain. She is a teenage assassin trained from birth by her criminal father to be nothing but a killing machine, until one night, the horror of what she's doing comes crashing into her and turns her whole world upside down; in the form of one of her dying victims saying the word "Daughter" with fear and love in his eyes. "Daughter" is one of the very few words Cassandra understands - she was raised to know and interpret body language, not spoken and written language - or she thought she did. Her own father never said "Daughter" with love and care.
Confused, heartbroken and frightened, Cassandra runs away from the life of an assassin and organised crime. She ends up in a restaurant owned by an awesome, old Asian lady named Jackie (it's great that an Asian heroine has an Asian female mentor), and then she lives in secret in a library, where she tries to figure out who she is now, and if she can ever get away from who she was before.
By viewing the wheelchair bound Barbara Gordon teaching kids creative writing in a library circle, Cassandra learns to speak, read, and write. She decides she wants to be a hero, like Batgirl, a favourite topic of Babs', a hero who has mysteriously disappeared.
Both Barbara and Jackie become mentors and mother figures to this young girl who is new to the world. Cass is emerging from her father's dark, violent, loveless world a kindhearted if naive teen vigilante. Starting out small, in the library Cass will act to try to make her home a better place. In her hiding place and sanctuary in the library, she keeps books, newspaper articles, and a mouse she was going to kill (it is a symbol and reflection of herself, and Jackie calls her "little mouse"). She also experiences first love with a boy with his own dreams to chase, who also wishes to be who he wants, away from his parents' expectations.
But with all this newfound comfort, reeducation, and friendships and family, Cassandra's evil father is out there in Gotham, waiting for her to slip up and show herself, and she knows it. She panics, and may start hurting people again, and distancing herself away from them again, in the panic of her past...
'Shadow of the Batgirl' is a fresh take on Cassandra Cain's origin and how she came to be the new Batgirl. How wonderful that she is the hero of her own story again after many years! Author Sarah Kuhn (she of 'Heroine Complex' and 'I Love You So Mochi' fame) aimed to make an Asian girl the heroine and focal point in a story that is hers, and she succeeded. To date this is one of my favourite interpretations of Cassandra Cain's character.
Cass is tragic, withdrawn, secluded, yet kind of adorable and sweet in how hard she tries to be a good person, in defiance of how she was raised. She is a child - lithe, petite and nimble - looking at the world through new, untainted and un-brainwashed eyes. Cassandra is an abused, inhumanely sheltered and inexperienced teen seeking redemption after her traumatic, guilt-fuelled past.
Barbara Gordon in this story is more lighthearted and... I don't know, sillier, than what I'm used to. Odd given her backstory. But I guess a positive and nonetheless human attitude is laudable disability rep, and Babs gets to be active and present in most action scenes (how she keeps appearing in upper floors of buildings without elevators in sight, or even how she enters the library each day without ramps in sight, on the other hand...). Barbara is a gadget and techno geek, who creates a criminal tracking app called Oracle. Jackie is great and three dimensional, too, and she can fight! She can protect herself. Spoilers, but no one is ever a damsel in distress in this story - yey!
'Shadow of the Batgirl' contains exceptional diversity rep. However, there is no overt LBGTQA rep (I suspect a hint about Jackie, though, in a throwaway line about her passionate first kiss), and the book overall, as I've said, is a little too short. I want more of Cassandra Cain as Batgirl in her new costume, and not just in one panel at the end, darnit!
It can be read as slightly juvenile, but not simple. It explores a lot about Cass's character - as a case study and a coming of age journey, that's almost mundane when compared to the journeys of other DC heroes, and of other Gotham Bat family member's backstories, but that's not a bad thing. It's refreshing and, in a strange yet sensible and understandable angle, relatable.
Young girls are sure to fall in love with Cass, and so will love 'Shadow of the Batgirl'.
In addition, the artwork is cute, reminiscent of Noelle Stevenson.
Love too that it is primarily set in a library! And in a Chinese restaurant!
It's also worth noting that I read this comic shortly after seeing the new 'Birds of Prey' movie, which also features an alternative - though much more loosely adapted - interpretation of Cassandra Cain. In the film she isn't an assassin, but a foster kid and pickpocket, and she doesn't become Batgirl, who apparently does not and never has existed in the DC cinematic universe. They'd better fix this soon or else. Anyway, I'm glad that this young Asian heroine is receiving the recognition she deserves in the mainstream, with different reinventions and takes to her character.
Final Score: 4/5
Book Review - 'Reverie' by Ryan La Sala
2022 EDIT: Well, I'm majorly embarrassed. By my original review and by my possibly high self who wrote it.
'Reverie' has an absolutely amazing premise, and it is unapologetically queer AF. The author had rainbow rivers of imagination, passion and ambition, there is no denying that.
But on the second read...from the first two pages, I knew it wasn't going to connect with me again, or make me feel in any way magical. Beforehand, I'd forgotten about nearly everything from the first read, and maybe that was for the best.
Kane, the amnesiac gay teen protagonist, has a younger sister, Sophia, and she is a colossal arsehole. In fact, EVERYONE is an arsehole. Cartoonishly so. Everyone is vindictive, mean, spiteful, deceitful, manipulative, thoughtless, selfish, self-absorbed, annoying, demanding, and beyond callous. And incredibly stupid. I know they're teenagers, but jeeeeezus!. And why do Kane's so-called loved ones keep throwing hard things at the traumatised, confused, amnesiac teen? Why do they expect so much out of Kane, a vulnerable victim? Do they want to keep him in the dark or don't they? Are they protecting him or aren't they? And why do they overreact and get violent towards him even when it's completely unnecessary? Who are these people? How are they friends? How and why do they possibly trust one another? I wouldn't want to spend five minutes in their company, much less read a whole 400 page book about them!
Kane himself isn't much better. One example of douchey-ness is blithely asserting that someone he barely knows isn't a virgin - he actually says "you're not a virgin" (page 119) to that person's face (it isn't better in context, and yes, the person is a girl). How the fuck would he know? And judgey much?
Poesy - reality-bending-and-thieving sorceress, teacup-and-ring witch, and drag extraordinaire - is still a memorable, exceptional villain. Though there is the issue of the only non-cis character in the story - who is never referred to as genderfluid or anything like that, but just a drag queen, whose pronouns in the third person narrative get changed at random - being the villain to begin with; even among the other, mostly queer cast.
To be honest, a lot of the time I couldn't tell who is meant to be a hero and who is meant to be evil, anyway; not because of any intrigue or the mystery element, but because, as I've stated, EVERYONE IS AN ARSEHOLE! They're horrible and I hate them. Their actions and motivations mostly make no sense, too. They're jarring and baffling, and widen the plot holes.
Kane's parents seem to be the only genuinely warm, caring, funny, and halfway decent people in the book, aside from being subjected to the typical parents-conveniently-absent-from-plot YA trope. But the author clearly didn't care about them much, and they're hardly present. They're not even plot devices, they're just there (or not, as is the case). Shame.
There are blatant plot and character contrivances in 'Reverie' as well, and the dialogue is unnatural, cold and full of infodumps. Therein contains the ever-so not-tired and why isn't this dead yet cliché of protagonist-just-happens-to-stumble-upon-and-overhear-and-eavesdrop-over-secretive-characters-at-the-exact-right-time-as-they-tell-each-other-what-they-should-already-know-but-give-away-plot-points-anyway-for-protagonist's/audience's-sake. Everything happens far too conveniently.
Also, for such a magical and creative book about LBGTQ teens being themselves and learning to love themselves in both awful reality and in imagined worlds, the tone is cutting, miserable and meanspirited. I blame the characters more than the mediocre writing attempt to create such lush, awesome worlds. I agree with some other reviewers that the worldbuilding could have used a little more work.
Read these Goodreads reviews that align with my further thoughts on 'Reverie': Click Here, Here, and Here.
While some ideas, elements and themes of 'Reverie' remain excellent, I'm almost tempted to strike out or delete the entirety of my first review. So cringe. But I'll leave it, out of honesty, and preserving the past to learn from mistakes to avoid repeating them in the future.
Seriously, was I high?
Final Score: 3/5
Original Review:
I won't say much about 'Reverie'. I can't, since that would spoil the magic for those who haven't read it.
It's...terrific. A luscious, creative, magical experience.
You'll wish you could live in it, and that it could be made into a movie, which would suit it perfectly.
'Reverie' is a fantasy novel where gay people are front and center and are the heroes. It's full of (active) imagination, mystery, angst, loneliness, teamwork, rainbows, different fantasy worlds, deconstructions of genre tropes, great twists and turns in every thrilling chapter, wants, hopes, dreams, animals, arts and crafts, sugary treats, and fantasy powers given to teenagers - who are insecure outsiders and/or are hiding their true selves in a broken, failed reality that doesn't love them for who they are.
Each character is fantastically realised, three dimensional, and a non-cliché; the world building (to every world that applies) is solid and gorgeously detailed; and even though fantasies and making up your own happy worlds are major themes in the book, the danger in these worlds - these reveries, or etheria - is real for our self conscious and lucid heroes.
It really is hard to believe that 'Reverie' is a debut novel. Ryan La Sala is king and queen combined.
This exciting, bold, daring and hugely creative treasure tome is like 'Inception' meets 'Puella Magi Madoka Magica', and it references 'Sailor Moon' and 'The Legend of Korra' (Roald Dahl's 'The Witches' is also a part of the story as a physical motif). Practically every fantasy trope is subverted and tweaked; used in a unique, pragmatic, dynamic, and even tragic way. And in fabulously gay ways.
And the shapeshifter/mentor/antagonist, the symbol of true expression and a mirror to the protagonist, is a proud drag queen.
'Reverie' - An LBGTQ and feminist fantasy pioneer. To say it is groundbreaking and a human, emotional triumph is an understatement. This big kaleidoscopic, astronomical icing cake of a book can be read in a day. The characters are not always likeable, and some relationships (main and on the side) aren't developed well or feel organic, but that's reality: Reality for imperfect teens in the imperfect real world and in multiple fantasy worlds of other people's making. For all the angst and mystery, the author makes sure to add in a sense of humour for catharsis as well.
Maybe together the small group of disadvantaged youths can help change reality so that some aspects of fantasy and wish fulfilment can come true, little by little, with or without magic.
Strongly, wholeheartedly recommended.
Final Score: 4/5
'Reverie' has an absolutely amazing premise, and it is unapologetically queer AF. The author had rainbow rivers of imagination, passion and ambition, there is no denying that.
But on the second read...from the first two pages, I knew it wasn't going to connect with me again, or make me feel in any way magical. Beforehand, I'd forgotten about nearly everything from the first read, and maybe that was for the best.
Kane, the amnesiac gay teen protagonist, has a younger sister, Sophia, and she is a colossal arsehole. In fact, EVERYONE is an arsehole. Cartoonishly so. Everyone is vindictive, mean, spiteful, deceitful, manipulative, thoughtless, selfish, self-absorbed, annoying, demanding, and beyond callous. And incredibly stupid. I know they're teenagers, but jeeeeezus!. And why do Kane's so-called loved ones keep throwing hard things at the traumatised, confused, amnesiac teen? Why do they expect so much out of Kane, a vulnerable victim? Do they want to keep him in the dark or don't they? Are they protecting him or aren't they? And why do they overreact and get violent towards him even when it's completely unnecessary? Who are these people? How are they friends? How and why do they possibly trust one another? I wouldn't want to spend five minutes in their company, much less read a whole 400 page book about them!
Kane himself isn't much better. One example of douchey-ness is blithely asserting that someone he barely knows isn't a virgin - he actually says "you're not a virgin" (page 119) to that person's face (it isn't better in context, and yes, the person is a girl). How the fuck would he know? And judgey much?
Poesy - reality-bending-and-thieving sorceress, teacup-and-ring witch, and drag extraordinaire - is still a memorable, exceptional villain. Though there is the issue of the only non-cis character in the story - who is never referred to as genderfluid or anything like that, but just a drag queen, whose pronouns in the third person narrative get changed at random - being the villain to begin with; even among the other, mostly queer cast.
To be honest, a lot of the time I couldn't tell who is meant to be a hero and who is meant to be evil, anyway; not because of any intrigue or the mystery element, but because, as I've stated, EVERYONE IS AN ARSEHOLE! They're horrible and I hate them. Their actions and motivations mostly make no sense, too. They're jarring and baffling, and widen the plot holes.
Kane's parents seem to be the only genuinely warm, caring, funny, and halfway decent people in the book, aside from being subjected to the typical parents-conveniently-absent-from-plot YA trope. But the author clearly didn't care about them much, and they're hardly present. They're not even plot devices, they're just there (or not, as is the case). Shame.
There are blatant plot and character contrivances in 'Reverie' as well, and the dialogue is unnatural, cold and full of infodumps. Therein contains the ever-so not-tired and why isn't this dead yet cliché of protagonist-just-happens-to-stumble-upon-and-overhear-and-eavesdrop-over-secretive-characters-at-the-exact-right-time-as-they-tell-each-other-what-they-should-already-know-but-give-away-plot-points-anyway-for-protagonist's/audience's-sake. Everything happens far too conveniently.
Also, for such a magical and creative book about LBGTQ teens being themselves and learning to love themselves in both awful reality and in imagined worlds, the tone is cutting, miserable and meanspirited. I blame the characters more than the mediocre writing attempt to create such lush, awesome worlds. I agree with some other reviewers that the worldbuilding could have used a little more work.
Read these Goodreads reviews that align with my further thoughts on 'Reverie': Click Here, Here, and Here.
While some ideas, elements and themes of 'Reverie' remain excellent, I'm almost tempted to strike out or delete the entirety of my first review. So cringe. But I'll leave it, out of honesty, and preserving the past to learn from mistakes to avoid repeating them in the future.
Seriously, was I high?
Final Score: 3/5
Original Review:
I won't say much about 'Reverie'. I can't, since that would spoil the magic for those who haven't read it.
It's...terrific. A luscious, creative, magical experience.
You'll wish you could live in it, and that it could be made into a movie, which would suit it perfectly.
'Reverie' is a fantasy novel where gay people are front and center and are the heroes. It's full of (active) imagination, mystery, angst, loneliness, teamwork, rainbows, different fantasy worlds, deconstructions of genre tropes, great twists and turns in every thrilling chapter, wants, hopes, dreams, animals, arts and crafts, sugary treats, and fantasy powers given to teenagers - who are insecure outsiders and/or are hiding their true selves in a broken, failed reality that doesn't love them for who they are.
Each character is fantastically realised, three dimensional, and a non-cliché; the world building (to every world that applies) is solid and gorgeously detailed; and even though fantasies and making up your own happy worlds are major themes in the book, the danger in these worlds - these reveries, or etheria - is real for our self conscious and lucid heroes.
It really is hard to believe that 'Reverie' is a debut novel. Ryan La Sala is king and queen combined.
This exciting, bold, daring and hugely creative treasure tome is like 'Inception' meets 'Puella Magi Madoka Magica', and it references 'Sailor Moon' and 'The Legend of Korra' (Roald Dahl's 'The Witches' is also a part of the story as a physical motif). Practically every fantasy trope is subverted and tweaked; used in a unique, pragmatic, dynamic, and even tragic way. And in fabulously gay ways.
And the shapeshifter/mentor/antagonist, the symbol of true expression and a mirror to the protagonist, is a proud drag queen.
'Reverie' - An LBGTQ and feminist fantasy pioneer. To say it is groundbreaking and a human, emotional triumph is an understatement. This big kaleidoscopic, astronomical icing cake of a book can be read in a day. The characters are not always likeable, and some relationships (main and on the side) aren't developed well or feel organic, but that's reality: Reality for imperfect teens in the imperfect real world and in multiple fantasy worlds of other people's making. For all the angst and mystery, the author makes sure to add in a sense of humour for catharsis as well.
Maybe together the small group of disadvantaged youths can help change reality so that some aspects of fantasy and wish fulfilment can come true, little by little, with or without magic.
Strongly, wholeheartedly recommended.
Final Score: 4/5
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