#that’s not at all a complaint by the by. absolutely stunning writing and imagery and action as always! but dear GOD

[peaches2217]

Shit. Fuck. Please send me your fluffiest headcanons or questions/prompt requests or your favorite cat pictures. I am in ruin right now. 😂

[nellie-elizabeth]

The Legend of Vox Machina: Those Who Walk Away (2x04)

I got the Vax punching Percy scene, I'm a happy camper.

Cons:

I can't overstate how much most of my complaints about this show are nitpicks. It feels like we've gotten such a bounty, something so much better and cooler and more intense than I ever could have hoped for. So when I'm talking about things that missed the mark for me, it's really only a matter of being thorough. Of being so impressed with this show that I expect the absolute best from it. My complaint is a little difficult to articulate, but during the pivotal Vex resurrection "take me instead" scene, it felt like the pacing, or the blocking, or maybe both, were just slightly... off.  Pacing-wise we go from the weeping at the end of season three to suddenly everyone being like "oh yeah, shit, we should be trying to save her", which just felt like they prioritized the fucking stunning ending of episode three over the beginning of episode four making sense, a little? Vax is sobbing like he believes she's really dead, and then suddenly he says "somebody do something!" like he's still in the middle of figuring out what's going on. Just a little awkwardness there.

There's this particular shot where Vex's spiritual self has flowed upward, and there's the golden thread connecting the twins, and the Matron of Ravens is looming over them, and it just looked kind of awkward with Vex's form laid out in this weird ghostly way... I think if I were going to do this, I wouldn't have had Vex's soul float out of her body at all, I would have kept the string connecting Vax to where Vex lay on the floor. Or I would have done a less tangible representation of Vex being taken away, like an orb of light or something. Like I said, this is nitpick-y to the extreme.

I'm also a little torn about Anna Ripley popping up there at the end. When I first saw her I actually wasn't sure who she was and had to think on it to figure it out. I guess it makes sense to want to keep her character on people's minds during this season, since I assume she's going to become relevant again in season three, but it still feels a little random. I'm willing to see how they take it, I'm just not sure how to feel yet.

Pros:

I'm so happy with everything we're getting!!!

Trinket backstory has me weeping. It just makes me think back to Laura writing up a little short story about her D&D character for Matt, and how it was this special little thing she'd thought up for their home game, all the way to now, seeing it in glorious animation. And what a cool way to set up the theme about fate. It's not so much that you have no control over anything so life is pointless, it's that, as Vex says, whatever happens is out of our control, so you might need to try and embrace what's in front of you. She took an opportunity, and got Trinket out of it. Now Vax has an opportunity in front of him as well.

The resurrection scene, while I've lodged a few complaints above, still gave me so many things I absolutely loved. The details of the whole group and how they respond to Vex's death... you've got Keyleth taking her hand and weeping, and there's the moment when Kash takes over and is going to try a resurrection rite, and Vax just kind of stumbles and falls backwards to the ground. Both Grog and Scanlan reach for him as if to catch him or steady him, but it's so clear that Vax is beyond their reach in that moment. And then the contrast between Vax sitting there watching the Matron of Ravens approach slowly, eerily, and the frantic sounds of the group talking as they try and save her... so chilling. You've got Scanlan trying to suggest another potion, you've got Grog saying "can we move her somewhere else", when it becomes clear that the tomb of the Matron isn't going to let her be resurrected. You've got Percy, begging Kash not to give up. That's the good shit.

All of the Matron of Ravens imagery is STUNNING. I'll talk about the fight stuff later, but just soup to nuts, the way she moves, the creepy mask, the size and scope of her, the music, the way the visions/flashbacks work for Vax... it all looks so cool and has me so hyped for what they do with her and Vax moving forward. Towards the end we see Vax witnessing a moment of death. We're starting to see the Matron of Ravens as a being heavily associated with death, but also death being a natural thing, something the Matron helps to usher along at the end. Vax is going to have to go on a journey to figure this out.

I'm sure some people are going to be pissed off with the degree to which Zahra is kind of the villain of this episode, what with her unleashing a not-Beholder on the group leading to the majority of them getting petrified, but I think this change is really smart. We're dealing with seven main characters here. There's a lot to juggle, and there's not really room to have a couple extra people tag along who are just there to be nice, uncomplicated allies in moments of stress. I thought it was such a fun way to have a fight sequence that isn't low-stakes, precisely, but is more there to showcase the power of our first Vestige of Divergence. This monster takes out the entirety of Vox Machina, along with Zahra, and yet Vax on his own is enough to defeat it because of his new cool armor and status as a champion of a goddess.

We've seen what a big deal these dragons are, we know how outclassed our heroes were in the face of them. So now we see how hunting down these Vestiges is going to make a big difference in that fight. Super smart! And as always the fight choreo is so fun and chaotic and exciting, with so many good character details. Kash calling out "Z! No, no!" when she got petrified got me in my feels about those two, and Scanlan reaching for Pike's hand, only for them both to be turned to stone, it's all so good and fun. And when Vax emerges to finish the fight, the speed, the music, that stunning shot of him in the air with the image of the Matron behind him... holy shit, I totally got chills.

Those Calamity/Purvan visions! Holy shit, this show is GORGEOUS. We've got a glow-up in terms of visuals even from what the first season managed to give us, and I am living for it. The images of the gods during the Calamity, those giant embodiments floating in the sky... we saw the Everlight again, among others we'll get to know about more later. And we see Vax start to embrace his fate, even though he doesn't know what it is, exactly. It's so terrifying, it's so upsetting, how from this moment on, Vax never gets to be quite the same person he was before.

I've got to shout out Percy for being so sweet and solicitous of Vex, checking up on her, guiding her through the tombs, helping her up after her petrification is undone by Kash. He's being so gentle and timid, and he's so clearly horrified and forever changed by  what his moment of carelessness nearly cost him. I'm living for it. And we got one of my FAVORITE scenes in the whole streamed campaign, where Percy goes to apologize to Vax for getting Vex killed, and he gets decked in the face for his trouble. Fucking excellent. I love how they streamlined this moment by having Vax say "I don't want to talk about it", and then Percy pushing through to talk about it anyway. It's such a good character moment for Percy, because he really is sorry, and all that, but ultimately he still thinks he knows best. He can't respect the way Vax needs to process this, and wants to get the apologizing over with. At the same time, Percy just wants to prove his worth to the group, prove that he is no longer the monster that sought to hurt them last season. I... love Percy so much, and I am so, so excited to see how things develop for him in terms of his relationships with the rest of the group, particularly with each of the twins.

So for now, we say farewell to Kash and Zahra! I loved that Zahra was the one to give Vex the necklace, that was a good way of streamlining, although I'll miss our fun wolfy friend from the stream at the same time. And while we didn't get the legendary Kash/Keyleth kiss between these characters, because so much has changed about the circumstances of their first meeting, we did at least get Kash asking Zahra if "antlers" is watching him walk away. That was so fun!

I hope that other people watching this appreciate the gravitas of the choice Vax has made. Yes, they managed to save Vex from death itself, but it's not a cheap moment, it's not something someone could just do any old day. It's going to be so exciting to watch the implications spill forward from this moment!

9/10

[barnesandco]

Lovin’

Pairing: Bucky Barnes x Reader

Warnings: None.

A/N: This little piece is dedicated to one of my favorite writers @evanstar​ / @evanstarff​ . The profound beauty with which Maggie portrays characters, and the prose she weaves from pure gold has always, always astounded me. I haven't given her the appreciation she deserves for the art she creates and for that, I am sorry. I realized this today when I read her fic Sentimental, and was struck, once again, by how magical her work is. The intricate, delicate, balanced and loving relationship she made between those two characters, with words that paint the most beautiful imagery, inspired me to explore Bucky's beauty, so I did. This is for you, Maggie, an apology, a correction, a promise to be a better reader, and a thank you for your writing. 

The wood planks of the balcony are cold against her feet, bearing the forewarning of impending autumn. Late September brings the first of the falling leaves, and her early morning touch-starved soul - longing, loving, lustful - brings her to stand in front of her husband, legs leaning on his knees. Bucky's eyes are closed against the sun she has now blocked out, her shadow casting an inky cloud against his reclined form. He smiles at the feel of her.

"Bucky? It's early, baby, what are you doing out here?" She asks him, leaning over to poke his shoulder gently. Petulant at finding an empty bed where his form should have laid, at finding nothing where the weight of his arm should have rested on her waist. He is the anchor, and simultaneously the helium inside the balloon of her heavy, weary heart, imploring her to float away. To let go. 

A wider grin, somewhat mischievous now, but the hint of petal-pink adoration and chocolate-rich charm remains as he grapples blindly for her waist. Eyes still closed. Fingers - one set cold metal, and the other of gentle humanity - wrap around her form and he pulls her to sit in her lap, the wicker of the outdoor armchair bumping delicately against her knees. She giggles and settles with a bounce against him, exhaling on his neck once her head rests at its rightful place: his shoulder. The sigh of content - palpable and delicious - is an invisible fog that condenses on the windows of the bubble they have built around them. 

Lifting her head, she looks at her husband, marvels at her fortune, both in terms of luck and wealth. Luck, to find a man who spends his every waking moment unnecessarily trying to be worthy of her; a man whose arms are a fortress around her, currently skimming over her back, fingers tracing her spine, coming to rest at her ribs. Wealth, because he is an absolute treasure; and she watches him now as she counts her riches. 

Her hands come up to cup his face, a feather-light touch that he squints at the feel of. She removes them only to raise two forefingers to trace his jaw, a thumb resting in the crevice of his chin. Shivers erupt along the back of his neck, in spite of the sun gaining strength in the glimmering blue sky. Her hands hold all the comfort that a blanket of summer rain might, yet the point of contact is lightning, sharp and fast and crackling along his skin, desperate to strike his heart, and he has to bite his lip against it. 

Using her thumb to tug it loose, free from the trap of his teeth, she soothes over the bitten-red cushion of his mouth with skimming fingers, his butterfly kiss gliding over the pad of her thumb. Bucky thinks she might finally, finally kiss him, keeps his eyes closed because the thrill of it, of not knowing, just feeling, of surrendering all control to her total devotion is so exhilarating. His heartbeat agrees, but her devotion deceives, and he is denied his kiss. Suppressing a groan of disappointment, he waits, his hands, previously forgotten around her body, move down to her hips, where they clench and unclench. 

Patient and shaking, her wandering hands traverse the mountain of his cheekbones to arrive at the summit of his eyebrows, soft and dark, and she runs her hands over them, watches the muscles underneath twitch. Allowing her hands to cover his face, he relishes in the way her palms graze the stubble that grows like grass on the dangerous planes of his cheeks. His wife relearns his face like it is a history lesson she didn't pay attention to, and the test is the next day, so she needs to memorize every last word, every monument and trench, the dates written in the bags below his eyes, the names of martyrs and their foes in the laugh-lines of his eyes that mock anyone who has ever tried to stifle his happiness, the locations of crucial battlegrounds mapped by the freckles on his nose.

It is this that she turns to, sliding her the tip of her little finger down the bridge of his nose, joining the dots that make up the constellations in the night sky of his face. Sirius, Canopis, Rigil Kentaurus all dim when compared to him, the brightest star in her universe. The only star in her universe. 

She leans in to follow the path her hands made with her lips and Bucky giggles. Former Winter Soldier, most feared (ex-)assassin on the planet, currently the most terrifying Avenger - possibly with the exception of the Black Widow - actually giggles beneath her, and she smiles against the skin of the back of his jaw, nuzzles into the tender spot below his ear. Bucky's large hands stroke her thighs, he turns his head, lurches forward to nip at her pulse point and she lets out a laugh of her own, the musical birdsong escaping into the air, resounding echo replaying it in his mind. 

Once they've quieted down, she continues her quest, carving the feel of him into her lips. She pecks both cheeks, slowly, then places her lips on his closed eyelids, bussing around the velvet skin. Drags her lips down his nose, a steep cliff, and jumps off the edge to land a brief kiss on each corner of his mouth. Cherishes the short pants his breaths are coming in now, and the way his firm grip around her is setting her on fire, concentrated on the places his warmth meets her, the points of contact between them wild with heat.

Although she is the one who has prolonged this torture, she is the one who almost whimpers when their lips finally meet, still closed and chaste, but fiery nonetheless. He angles his head just so, and the sunshine on her back explodes into fireworks, lighting up her very being. Subconsciously, her hands slip into his kitten-smooth hair, tracing shapes of their love, the initials of their names into his scalp. He ignores the requests her tongue makes for entry into his mouth, determined to make her suffer just as she did him, and now, she does whimper. Mewls into his lips what words she does not have at the moment, and Bucky growls. 

He pushes up and pulls her down, ending the flowery paradise she has constructed because it is time to sin. Pours all his gratitude and affection in through his mouth, shows her his complete reverence in the passionate steps of the dance he constructs with their lips and mouths and wandering hands. She finds that he tastes of blueberries and promises, like the only today and tomorrow and every day after that she will ever want, and it is breathtaking. Quite literally so, and they tear away, foreheads still kissing. Her chest heaves for air, pressing against his with each deep, greedy inhale, her lushness against his hard chest, the lungs beneath also straining. It's a good ache, though. The kind that leaves him wanting more, and for a man whose life has been decades of pain, that is significant.

For a few seconds, minutes, hours, they just breathe. Lips rasping together, sharing a life force, like they share a life together. Bucky opens his eyes, sunshine radiating from the blue sky they hold to illuminate his wife. His beautiful, stunning, sweeter-than-strawberries, braver-than-lions, honest-to-goodness wife. She looks back, smiles again, then repeats her complaint.

"You didn't answer my question. What were you doing out here by yourself?" Bucky shakes his head, and she tucks a strand that has come loose back behind his ear, her fingertips an ocean tracing the seashell of its curve. 

"Doesn't matter, sugar. But you know, if this is the kind of lovin' I get for leaving early, you might be waking up to a cold bed every morning from here on out." He receives a glare for his teasing, beneath furrowed brows and a playful pout.

"Don't you dare, Bucky Barnes." She tells him, prodding his chest, and, with another laugh, he grabs ahold of that finger, brings her hands to his mouth and lays a July breeze of a kiss on her knuckles, while maintaining eye contact. Conveys wordlessly that he, in his heart of hearts, will not dare. 

Taglist:  @suz-123​ @mermaidxatxheart​ @buckyreaderrecs​ @shield-agent78​ @corneliabarnes​ @readerandcinephileingeneral​ @stevieboyharrington​ @notsomellowmushroom​ @veganfangirl5​ @mood-pancakes​ @lbuck121​

[dweemeister]

The Coward (1965, India)

With the Apu trilogy (1955-1959), Satyajit Ray became a darling of cinema academics and critics with his portrayal of one young man’s coming-of-age. By the mid-1960s after Charulata (1964), international attention to Ray’s films waned. Not that his movies declined in quality, but Ray appeared to be moving away from characters, settings, and narratives that might be considered “exotic” by Westerners. The situations, as in any film by Satyajit Ray, remain timeless. The Coward – also known by its original Bengali title, Kapurush – features a suffering artist character often found in 1950s and ‘60s Ray films. But in an interesting development, the artist’s creative soul is not what propels The Coward – instead, it is a litany of decisions rooted in the past, the temptations of the present.

Amitabha Roy’s (Soumitra Chatterjee) car has broken down somewhere in the Indian countryside, in or around Darjeeling. Amitabha, a screenwriter has been traveling across the country to gather material for a developing screenplay. Also at the mechanic’s garage is a tea plantation owner, Bimal Gupta (Haradhan Bandopadhyay), who offers a room to Amitabha for a night. The two men arrive at the estate, where Bimal introduces his wife, Karuna (Madhabi Mukherjee), to his visitor. Amitabha is stunned into silence – the woman only a few feet away from him is his ex-girlfriend. Introductions are warranted, pleasantries are exchanged, a meal is offered. During this time, Amitabha and Karuna’s respective body language suppose they are in an old lover’s daze – he has never resolved his feelings for Karuna; Karuna’s feelings are best not spoiled – yet they never tip Bimal off to their prior history. She was willing to disrespect her parents’ wishes to be with him; familial pressure and fear of commitment resulted in the breakup. When together, Bimal and Karuna seem bored, as if having little new or anything of interest to say to each other.

As usual, Ray is also the film’s writer, adapting The Coward from author Premendra Mitra’s story Janaiko Kapuruser Kahini. “The coward” of this film is Amitabha; the act of cowardice informing the film’s title is Amitabha’s inability to surrender to his heart’s desire when he and Karuna were lovers, rather than run from the familial, material, and social consequences that might have occurred by marrying her – so the conventional thinking goes. That act of cowardice – some readers might think the film’s title and that designation to be harsh on Amitabha, but opinions have varied wildly – underlines all of the conflict appearing here. Perhaps it is a character trait in Amitabha’s behavior over the time they have been together; there simply is not enough information or a conclusive flashback to confirm all of this speculation.

Will Amitabha and Karuna rekindle their feelings for each other after a few or several years? When he has the chance to speak to her individually, is Amitabha being inappropriate and is she even caring to listen to him? Is Bimal – written by Ray as bored, boring, and fond of alcohol – going to eavesdrop or arrive at the worst possible time, setting up the most awkward situation imaginable?

The answers to all of these questions might surprise first-time viewers, as Karuna displays a peculiar aloofness the moment she is alone with Amitabha for the first time. Those who have not finished the film should skip this paragraph, the quote in between, and the paragraph after that. More questions – this time asked by Amitabha himself – perhaps inspire that distance. He asks if she is happy, if she still has feelings for him. Coming from Amitabha, these inquiry reveals his insecurity and willingness to start again. Karuna does respond about whether or not she is happy many hours after that first encounter – in broad daylight, with Amitabha listening on the opposite side of a dirt road where a convoy of trucks is about to pass. She warns him about judging a person after only knowing them for less than a day. Absolutely. She claims to have changed over time. No complaints there.

Perhaps I didn’t want to be happy.

What? Is Karuna deflecting Amitabha’s question to the cacophony of the incoming trucks? Or is she referencing Amitabha’s conception of happiness between the two of them, having long rejected his definition, and has pursued a “happiness” that is hers and no one else’s? Of all of her responses, this is the one that has been bedeviling me since completing The Coward (consider: Karuna’s stated dependence on sleeping pills and her reason for her presence in the film’s closing seconds). Either way – or if I have missed the point of that moment completely – Karuna has pursued happiness for herself and not to be confined by her family or Amitabha. Though her reasons are written too abstrusely for my tastes (or maybe this is because my experience with love is not sufficient to understand this film), this is a progressive female character for cinema – something transcending when this film was released and where it comes from.

With all this talk of cowardice, it might be enlightening to read Ray’s own words about The Coward. The film, he writes, glimpses into, “a certain type of cowardice and a certain selfishness, which seem to be concomitants of modern middle-class sophistication. The stress of modern living, and the uncertainty of getting a foothold and retaining it, are important causes of these complexes.“ Amitabha, a screenwriter, probably lives on a deadline-heavy schedule – forcing him to interpret large amounts of information and human interaction and translating those experiences on paper. Successes are temporary in show business, with another deadline and more bills to pay always on the horizon. It makes me wonder how Ray felt about the character of Amitabha – did he identify with him or pity him? The Coward, to me, does not feel like a condemnation but I’m not discounting the fact that someone could articulate a compelling case for that interpretation.

Regarding Karuna, she is the final character in an unofficial Satyajit Ray trilogy featuring women staking their own claims of self-assertion despite the disapproval of traditional families and other men. That trilogy includes: The Big City (1963), Charulata (1964), and The Coward (1965). Madhabi Mukherjee is the actress playing all of the female leads in that unofficial trilogy. More emotionally distant than the eponymous Charulata (as of the writing of this piece, I have not seen The Big City), Mukherjee’s Karuna is more understated than that previous role but – for reasons having to do with the maddeningly loose ends that Ray leaves this film with – her subtle expressions sometimes seem to be contradicting the tone of voice she or someone else is using. Also starring opposite her from Charulata is co-star Soumitra Chatterjee who – like Mukherjee – can modulate the film’s tone with the slightest change in facial language and bodily posture. This film does not contain his best performance either. These are two damned talented actors, but outside of the flashback scenes, I did not feel for either until the closing minutes of the film’s brief seventy-four-minute runtime.

Cinematographer Soumendu Roy (an assistant cameraperson to cinematographer Subrata Mitra on 1955′s Pather Panchali; Roy became Satyajit Ray’s go-to cinematographer after Mitra developed eye problems in the early-mid 1960s) has a fascinating opening tracking shot, but little else of interest afterwards outside of the scenes where Amitabha, Karuna, and Bimal are taking a break from driving a car into the countryside. The Coward, from a compositional standpoint, is more pedestrian in its imagery than most Ray works.

Outside of its debut at the 1965 Venice International Film Festival (nominated for the Golden Lion), The Coward never registered anywhere else. It does not appear to have been given a North American theatrical release (distribution rights appear to be with Janus Films/the Criterion Collection, but the film has never been released on home media in the region); two European theatrical releases are listed on IMDb (France in 1994, Portugal in 2014). In India, The Coward represented the first half of a double bill with Ray’s comedy The Holy Man (1965). Legal prints – let alone illegal versions with subtitles – might be difficult to come by (The Coward made its North American television premiere on Turner Classic Movies in the early hours of September 11, 2017).

As part of its initiative to help restore Satyajit Ray films for future generations, the Academy of Motion Picture Arts and Sciences (AMPAS) and the University of California, Santa Cruz (UCSC) have collaborated to preserve films like The Coward – itself restored in 2005. Ray’s remaining unrestored films are housed at UCSC and will they will be re-presented to cinephiles when those prints are ready. I myself am just getting started on Ray’s filmography, having also seen his Apu trilogy, The Music Room (1958), Charulata, and Nayak (1966). If The Coward is any indication, the wisdom and humanity found in Ray’s direction and writing matters not on the setting or the specificity of his characters’ lives before we are introduced to them. Instead, it is his willingness to explore human emptiness and an individual’s desire to evaluate and rectify the past.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

[scbrightwrites-blog]

Book Review: Pomegranate by Nicole Scarano

Read on Kindle Rating: 5 stars Buy it here: Pomegranate by Nicole Scarano on Amazon

Summary: The book had amazing characterization, a compelling romance, and excellent imagery. It was a fresh take on the Hades and Persephone Myth that I can really appreciate. There were spelling errors but were negligent and have already been addressed in other reviews. *****Spoilers ahead****** Top 5 favorite things:

Kerberos. I loved Kerberos’s design, imagery, and personality. Plus the dog he was based on (Scarano’s Pitbull, China) is absolutely adorable!

Alkaios (and his relationship with Hades).

The narrative of a woman scorned by a complete douchebag (Zues) who became just as powerful as him, found a man who respects her, a best friend, and a cat and dog.

Zues made an excellent bad guy

Hades being “King of the Underworld” despite the gender bending was awesome. She still kept her power as King regardless of gender.

Main complaints: I felt like the ending was a little rushed, but I often feel that way with fantasy books because there is so much going on. Also, there was an over usage of “red like a pomegranate” and just “like a pomegranate” descriptions in general. The writing was a little hard to follow at times, though overall wonderful with excellent descriptions.

     I heard the story of Hades and Persephone many, many times while I was growing up due to my mother’s love of Greek Mythology. As an adult, I’ve read quite a few re-tellings of Hades and Persephone’s story because of my love of Greek Mythology. I have a special spot for re-tellings that deviate from the “original” version where Hades is Persephone’s uncle, kidnaps her, and is super creepy. I am especially fond of a feminist friendly re-telling of any classic story. That being said, I really loved this book.

     Scarano has done an amazing job of subverting the story. She turned it into an epic romance about a strong, intelligent woman who comes into her own with power, a support system, and some adorably hellish pets after being jilted by a power-hungry, man. A man who flipped out when he didn’t get a positive response from her (after rejecting and banishing her) and got violent. Something I think most woman and afab people have dealt with at some point or another in their lives. It’s a relatable experience that makes Zeus such a realistic and terrifying villain. Hades is a powerful, strong, competent woman, as many are, and there were still moments in the book where she felt very hopeless in her fights with Zeus and where I as the reader felt completely terrified for her because of the way Scarano wrote his character. It was thrilling and kept me on my toes while reading, something that’s difficult to do!

     Despite Zeus’s treatment of her with his threats, intimidation, and violence, Hades still manages to stay strong through the situation and find friends and a partner that treats her like an equal and treats her right. It was interesting and exciting watching Hades grow as a person. She made a lot of mistakes and she learned from those mistakes in a very real way and it made her a character I could really empathize with. She admitted to her mistakes, learned from them, and had some stunning character growth. All the main characters really had some very well executed character growth. For me, the characters of a story are the most important. If I can’t connect with the characters in some way it doesn’t matter how good the plot or writing is, it can’t hold my interest.

    That being said, if you like stories that retell ancient myths in an awesome way, compelling characters with well-done character growth, cute hell puppies, and can ignore a few typos then I would highly recommend this book to anyone who fits that reader description. Even if you don’t, I would suggest considering to read it anyway because you might find something about the story you like.

If you liked this book review and you want to see more as they come out, check out my website scbrightwrites.wordpress.com, follow me on twitter at @SCBrightWrites or check out my Goodreads. That’s all for today. Stay Bright!

[kelly86854909-blog]

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MULTI REVIEW POST BONFIRE - ARC via Netgalley READ: 8/19-22/17; RELEASED: 11/9/17 "Can you ever outrun your past? From actress, producer, and writer, Krysten Ritter, a psychological suspense novel about a woman forced to confront her past in the wake of small-town corruption. It has been ten years since Abby Williams left home and scrubbed away all visible evidence of her small town roots. Now working as an environmental lawyer in Chicago, she has a thriving career, a modern apartment, and her pick of meaningless one-night stands. But when a new case takes her back home to Barrens, Indiana, the life Abby painstakingly created begins to crack. Tasked with investigating Optimal Plastics, the town's most high-profile company and economic heart, Abby begins to find strange connections to Barrens’ biggest scandal from more than a decade ago involving the popular Kaycee Mitchell and her closest friends—just before Kaycee disappeared for good. Abby knows the key to solving any case lies in the weak spots, the unanswered questions. But as she tries desperately to find out what really happened to Kaycee, troubling memories begin to resurface and she begins to doubt her own observations. And when she unearths an even more disturbing secret—a ritual called “The Game,” it will threaten the reputations, and lives, of the community and risk exposing a darkness that may consume her. With tantalizing twists, slow-burning suspense, and a remote, rural town of just five claustrophobic miles,  Bonfire is a dark exploration of what happens when your past and present collide." Thank you to Netgalley and the publishers for this review copy in exchange for an honest review. I read the majority of this in hospitals and waiting rooms in the midst of being ill. Do I have any regrets? Nope. I originally requested this because I've been a fan of Krysten's for ages and was excited and then I read the summary and whoo boy. It's not a perfect debut (there were some parts that seemed more destined for the small or big screen instead of a novel especially the end reveal) but the story and the way Ritter manages to capture imagery and feeling within the pages makes it easy to see in your mind and get lost in the mystery and the intrigue of the world she's created. Very much looking forward to reading more from her. ------------------------------------------ THE PUNCH ESCROW - Paperback ARC READ: 8/3-5/17; RELEASED: 7/25/17 4.2/5 "Dubbed the “next Ready Player One,” by former Warner Brothers President Greg Silverman, and now in film development at Lionsgate. It's the year 2147. Advancements in nanotechnology have enabled us to control aging. We’ve genetically engineered mosquitoes to feast on carbon fumes instead of blood, ending air pollution. And teleportation has become the ideal mode of transportation, offered exclusively by International Transport―the world’s most powerful corporation, in a world controlled by corporations. Joel Byram spends his days training artificial-intelligence engines to act more human and trying to salvage his deteriorating marriage. He’s pretty much an everyday twenty-second century guy with everyday problems―until he’s accidentally duplicated while teleporting. Now Joel must outsmart the shadowy organization that controls teleportation, outrun the religious sect out to destroy it, and find a way to get back to the woman he loves in a world that now has two of him." Thank you to the publishers for this review copy in exchange for an honest review. This one was a nice surprise. I was contacted by the publisher and offered this one. I had to wait to get out my thoughts about it because of real life events that went beyond my control. So sorry this is late. I found the whole thing really interesting from the carbon sucking mosquitoes to the AI and the cloning that takes place. Not once did I find this to linger or be slow in the pace and I loved that the main character was an average "Everyman" with his own set of issues that just so happens to go on this journey. Add to the fact that I hope there's a sequel and I'll be completely looking forward to it. ------------------------------------------ ZERO REPEAT FOREVER - ARC via Netgalley READ: 8/1-2/17; RELEASED: 8/29/17 3.8/5 "The 5th Wave meets Beauty and the Beastin this fast-paced and heart-stopping novel about an invasion of murderous creatures and one girl fighting for her life at the end of the world. He has no voice or name, only a rank, Eighth. He doesn’t know the details of the mission, only the directives that hum in his mind. 
Dart the humans. Leave them where they fall.His job is to protect his Offside. Let her do the shooting. Until a human kills her… Sixteen-year-old Raven is at summer camp when the terrifying armored Nahx invade. Isolated in the wilderness, Raven and her fellow campers can only stay put. Await rescue. Raven doesn’t like feeling helpless, but what choice does she have? Then a Nahx kills her boyfriend. Thrown together in a violent, unfamiliar world, Eighth and Raven should feel only hate and fear. But when Raven is injured, and Eighth deserts his unit, their survival comes to depend on trusting each other…" Thank you to Netgalley and the publishers for this review copy in exchange for an honest review. The pitch for this is Beauty and the Beast meets The Fifth Wave. I liked one more than the other but was still an optimist about reading this because with life happening I needed a fun escape. I liked this take on aliens and mythology (I've read enough alien fiction in my teens since Roswell to have a grasp of what's new or not and what's been done before), that I hadn't considered and I liked the authors take on aliens for Nahx. Raven, the main character was a tad all over the place (maybe it was the pacing of the novel) but I did enjoy the originality of the novel and how it unfolded. I'll look forward to the second one because even though I wasn't shocked by the twist it's still a good novel. ------------------------------------------ CHRISTOPHER WILD - ARC via Netgalley READ: 8/9/17; RELEASE: 2017 "Three lives. One man.Christopher Marlowe was the first rock star poet, a spy, an atheist, a gay rebel whose controversial plays thrilled audiences and challenged the government. CHRISTOPHER WILD is Kathe Koja’s new novel, a daring remix of eras—the glitter and threat of Elizabethan England, a grimy mid-20th century, and a dark near-future of constant surveillance—as Marlowe loves and fights and writes his way through every life" Thank you to Netgalley and the publishers for this review copy in exchange for an honest review. Alright, time for the confession, I picked this up because I'm an English major and I got into TNT's now canceled show on Shakespeare. I wanted to like this but found myself struggling at times even if this novel is beautifully constructed. ------------------------------------------ THE WHISPERING ROOM - ARC via Netgalley READ: 8/10-12/17; RELEASE: 11/21/17 4.2/5 "Jane Hawk—fiction’s most relentless, resourceful, stunning new heroine—continues her battle against a murderous conspiracy in the riveting sequel to The Silent Corner."No time to delay. Do what you were born to do. Fame will be yours when you do this.”These are the words that ring in the mind of mild-mannered, beloved schoolteacher Cora Gundersun—just before she takes her own life, and many others’, in a shocking act of carnage. When the disturbing contents of her secret journal are discovered, it seems certain that she must have been insane. But Jane Hawk knows better. In the wake of her husband’s inexplicable suicide—and the equally mysterious deaths of scores of other exemplary individuals—Jane picks up the trail of a secret cabal of powerful players who think themselves above the law and beyond punishment. But the ruthless people bent on hijacking America’s future for their own monstrous ends never banked on a highly trained FBI agent willing to go rogue—and become the nation’s most wanted fugitive—in order to derail their insidious plans to gain absolute power with a terrifying technological breakthrough. Driven by love for her lost husband and by fear for the five-year-old son she has sent into hiding, Jane Hawk has become an unstoppable predator. Those she is hunting will have nowhere to run when her shadow falls across them." Thank you to Netgalley and the publishers for this review copy in exchange for an honest review. Alright, when we last left the characters I was excited for a sequel and found that I had more questions instead of answers. Kootnz still has a brilliant strong character in Jane and he doesn't falter here. The only complaint I had much like last time is that Koontz is still a bit wordy in his descriptions but even though that makes it longer it's still enjoyable even though the pace drags a slight bit in still itching to get my hands on the next novel to see where he takes Jane especially after that ending. ------------------------------------------ NOTES FROM THE UPSIDE DOWN - ARC via Netgalley "Jump inside the world of Stranger Thingsand discover everything you need to know about the hit TV show. Grab your Eggo waffles and get ready for a visit to Hawkins, Indiana—just don’t forget the fairy lights! If you devoured Stranger Things on Netflix and you’re looking to fill the demogorgon-sized hole in your life, then look no further than Notes from the Upside Down. Thisfan-tastic guide has every fact you could ever wish for—from insights into the origins of the show, including the mysterious Montauk Project conspiracy theory; a useful eighties playlist (because, of course); and much more. If you’ve ever wondered why Spielberg is such a huge influence, which Stephen King books you need to read (hint: pretty much all of them), or how State Trooper David O’Bannon earned his name, then this book is for you. Entertaining, informative, and perfect for fans of eighties pop culture, Notes from the Upside Down is the Big Mac of unofficial guides to Stranger Things—super-sized and special sauce included." Thank you to Netgalley and the publishers for this review copy in exchange for an honest review. I really, really fell in love with this show when it debuted and since then I've always looked for a book like this. I'm a casual fan but enjoy the little tiny backstories and what not from tv shows. Overall a great edition to companion books with a really bright and catchy cover. ---------------------------------------- BREAKING BAD 101 - ARC from Netgalley "AMC’s Breaking Bad is among the most beloved, critically acclaimed American television series of our time. Created by Vince Gilligan, the series charts the transformation of high school science teacher Walter White (played by Bryan Cranston) into a cold, calculating meth kingpin. Breaking Bad 101 collects esteemed critic Alan Sepinwall’s (Uproxx) popular Breaking Bad recaps in book form, featuring new, exclusive essays and completely revised and updated commentary—as well as insights from and interviews with the creative masterminds behind Breaking Bad. The ultimate critical companion for one of the greatest television dramas of all time, Breaking Bad 101 offers fans Sepinwall’s smart, funny, and incisive analysis of the psychology and filmmaking craft behind each episode and celebrates the series’ unique place in pop-culture history."   Thank you to Netgalley and the publishers for this review copy in exchange for an honest review. I liked this book. I'm a huge fan of the TV series and found this to be a nice walk down memory lane especially with the episode recaps and I like how they manage to tie in Better Call Saul as a nod to the shared universe that the characters all live in. A nice edition to companion books and fans of the show (even if the cover isn't very eye catching).