This is some fucked up shit. Misogynistic and necrophilic fucked up shit. With illustrations. My inner feminist is vibrating with rage and is drawingThis is some fucked up shit. Misogynistic and necrophilic fucked up shit. With illustrations. My inner feminist is vibrating with rage and is drawing disturbing comparisons with serial killer Elliot Rodger.
The meathouse is a whorehouse whose 'whores' are dead women, most of whom are former criminals and debtors although some have been kidnapped and killed precisely to be commodified by transforming them into brainless undead prostitutes. Outside of the meathouses, corpses are used as workers directed by handlers (read: puppeteers), similar to what The People do with vampires in Ilona Andrews's Kate Daniels series. The entertainment industry is dominated by corpse fights like the gladiators of old, their handlers manipulating them like 3-D real world video game characters.
Greg succumbs to peer pressure by patronising a meathouse where he falls in love with a coprse-whore and thus begins an obsession. The explicit artwork of this graphic novel makes it all the sicker. Necrophilic rape porn imagery is not something I want to see. And the illustrations aren't even good - it's quite grotesque actually, although that may be intentional.
Anyway, Greg decides he deserves better than an undead woman and proceeds to wait for a living, breathing woman. He meets one, he falls in love and she rejects him. He moves to another planet, meets a woman, falls in love, they're happy for a time, then she dumps him for his best friend. From here on out he hates women. Love is a cruel lie. He turns to the occupation he once shunned: gladiator-corpse handler. Turns out he's excellent at bloodily dismantling his opponents from the comfort of his 'throne' as the crowds cheer him on.
I know George R.R. Martin is a man who loves to write controversial storylines. A Song of Fire and Ice gets a pass in my eyes due to historical and cultural accuracy. Meathouse Man, on the other hand, is set in the distant future when man has colonized multiple planets. One would hope such pervasive and socially acceptable misogyny and disrespect for the dead would be but a distant memory by this time.
I'm shocked and disappointed that this is a 2014 Hugo Award Best Graphic Novel Nominee.
*Read for free via the LonCon3 Hugo Voter Pack....more
"The story of Melanie and the people around her is so thoughtfully crafted, so heartfelt, remorseless and painfully human, that it takes the potential"The story of Melanie and the people around her is so thoughtfully crafted, so heartfelt, remorseless and painfully human, that it takes the potentially tired trope of the zombie apocalypse and makes it as fresh as it is terrifying. The story spirals towards a conclusion so surprising, so warm and yet so chilling, that it takes a moment to realize it's been earned since the first page, and even before. It left me sighing with envious joy, like I'd been simultaneously offered flowers and beaten at chess. A jewel."—Joss Whedon...more
On paper, the effect of this Returnee's reappearance had the potential to be*Cross-posted on BookLikes and Wordpress.
A great idea poorly executed.
On paper, the effect of this Returnee's reappearance had the potential to be heart-wrenching as a 37-year-old man attempts to solve a life-changing dilemma: to continue with his present life with a wife and child, or leave them for his 17-year-old first love who disappeared, and was presumed dead, 20 years ago.
I really wanted to like it but the writing is rushed and choppy. (view spoiler)[The inclusion of his wife's affair was incongruous, over the top and seemed like it was added at the last minute to lessen any guilt Peter might feel if he decided to leave Samantha for Tracy. (hide spoiler)]
The Choice ended (view spoiler)[logically (hide spoiler)], the way I thought it would, albeit in a rough and rushed manner. However, unlike in the other prequels, we experience nothing from the Returnee's perspective except the effect she has on her mother via her anxious phone calls to Peter.
From the quality of writing in The Sparrow, I know Jason Mott can do better. I just hope The Returned embodies the skill I know he possesses.["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>...more
The Sparrow is a huge improvement over its predecessor The First. Whereas The First serves as an introducti*Cross-posted on BookLikes and Wordpress.
The Sparrow is a huge improvement over its predecessor The First. Whereas The First serves as an introduction to a world where the dead suddenly return alive, The Sparrow delves into the moral issues that arise from it. Are the Returned human? Are they still the people they were when they died? How is this possible: Is it magic or can science explain it? And do we sacrifice our humanity in seeking the answers to these questions?
Married couple Heather and Matt face these questions when they discover Returned little girl Tatiana. Heather embraces the child, accepting and caring for her while husband Matt treats the Returnee as a thing to be exploited:
"These things aren't people. They're something else. And if there's a way for us to capitalize on this, then I'm all for that."
Heather is appalled at his reaction but replies with compassion, hoping to change his mind:
"If I could see my mother again... If my mother somehow shows up in all of this, if I get a call that she's been found in some far-off part of the world, I'd pray to God that the person who finds her would take care of her, that they would get her back to me, that they would have the decency to let me decide whether or not she was real, whether or not I could love her again."
Fear and uncertainty in the face of this bizarre phenomenon is to be expected, but the actions taken driven by these feelings have shown to be, in some cases, unaccountably violent and homicidal. In an attempt to understand Matt's rejection of Tatiana, Heather believes that since he's never experienced loss, he's unable to reconcile what the Returned can mean to those left behind in their grief:
'Heather was certain that Matt's problem with Tatiana stemmed from the fact that he had never lost anyone. Both of his parents were still alive. His brothers and sisters, even his grandparents, were all still alive. He had never known the loneliness of waking in the middle of the night from a dream of spending time with a mother who had been dead nearly a decade.'
The object of contention, Tatiana, is shown to be a normal human child and nothing indicates that she is otherwise. She possesses memories of her former life with loving parents, who took it in turns to make up bedtime stories to entertain her. Unfortunately her short life, and that of her mother's, was cut short when violence came to her home in what I assumed to be the Rwandan genocide in 1994, leaving her father bereft and alone (who was away at the time, helping those in need).
I'm definitely looking forward to the next installments of this series....more
Realistic portrayals of the bureaucratic response to an unexplainable event and the emotional turmoil exper*Cross-posted on BookLikes and Wordpress.
Realistic portrayals of the bureaucratic response to an unexplainable event and the emotional turmoil experienced if you were to find out a dead loved one was in fact alive, drew me in as the scene was set for the rest of the series.
However, upon finishing, I was left feeling a mild mixture of indifference and curiosity, reminding me of the way short stories in anthologies are written; leaving what comes next, or reasons for what takes place, up to the imaginations of readers. Although the last sentence is ominous, indicating a not-so-happy ending.
As I own the other currently published installments in this series, I'll definitely be continuing, especially as there's a TV series based on it in the works....more
Ever wanted to question the specifics of a villian's clichéd world domination plan? Call a villain out on the infantile nature of it, presenting the dEver wanted to question the specifics of a villian's clichéd world domination plan? Call a villain out on the infantile nature of it, presenting the difficulties he'll face in accomplishing such a feat, and then maintaining leadership should he succeed? Skullduggery Pleasant does all that and more with his quick, dry wit and that sharp, sarcastic tongue of his, and it's deliciously satisfying and rib-ticklingly funny. An excellent non-essential freebie.
There's nothing like a bit of necrophilia in the morning.
Our RoboZombies (the zombies are actually referred to as 'steins', as in Frankenstein)don'tThere's nothing like a bit of necrophilia in the morning.
Our RoboZombies (the zombies are actually referred to as 'steins', as in Frankenstein) don't decompose and still retain all of their bodily functions so there are no ball sacks falling off during fellatio or penises detaching mid-coitus (oh look a new dildo!) so my tea and toast stayed happily in my stomach.
Our heroine, Josie, is a newly made RoboZombie sex doll. Her memories have been wiped in favour of rudimentary programming to engineer her to need, and be submissive to, a 'husband'. Her obviously abusive maker had no other use for her than that. Free will is only for the living. She's child-like in her curiosity and discovery of new concepts and sensations, but she's very much able to learn and grow beyond her original programming.
The hero, turned Peeping Tom during recon, is also a RoZo of the soldier / assassin variety with PTSD, employed by a pro-free will organisation. Bane's been working towards earning a memory and programming reset to relieve his mental anguish to become blissfully ignorant of the deeds he's done while his free will was taken from him.
Bane's mission is to retrieve the heroine from her maker by any means necessary before an evil RoZo corporation can swoop in and recover the scientist and his research. As the heroine had been designed to require biofeedback via touch and an electronic mental connection from a husband, the hero has to fill that hole role to prevent her programming from degrading to the point of leaving her a lifeless rotting corpse.
It's important to note that Bane doesn't rape Josie, the very thought disgusts him. Josie's personality, that of a 'virtual child', also unnerves him so he's very careful about how he handles her, leaving Josie to decide what she wants.
I'm riding the line between love and hate, hiding in the no-man's-land of meh. Predictable paranormal romance that isn't too cheesy, worldbuilding and character development of the supporting cast is lacking, but it possesses an interesting, and I suppose plausible, possibility of cyborg RoboZombies in the future. I'd still take Langlais's cyborgs over Harris's though.
But all idealism faded if exposed to enough reality.
Revived committed suicide early on, but somehow it was saved. It was... Revived. Dun, dun, dun.
The Science. Oh dear god, the science!
"Revive" is a druRevived committed suicide early on, but somehow it was saved. It was... Revived. Dun, dun, dun.
The Science. Oh dear god, the science!
"Revive" is a drug which brings the recently dead back to life though it heals no wounds and cures no disease.
Adrenaline, anyone? Has this not been discovered in this world yet? Why yes, it has. Daisy has epi-pens on hand for a deadly allergy. So how is it any different from adrenaline? There's no answer because Revive's discovery was never explained. Nor is the state of any "Revived" individual. Are they the living dead? Still human? Able to reproduce? No idea.
Also: A bus crash with no survivors would mean lots of corpses with fatal injuries. Only those who'd died by passive means, like asphyxiation, might be revivable. (Yet they tried the drug out on a child with a foreign body piercing his brain. *facepalm*) Then again, in this experiment, no other treatment can be performed in addition to Revive's administration. No CPR. This means no circulation of oxygenated blood to the brain, heart and lungs -critical organs this drug needs to work on. So how is it going to get to its target destination from the injection site? No defibrillation to restart the heart. The drug would have to be administered with 5 minutes of flat-lining to avoid risking brain damage or brain death. But it would do no good if Revive can't be transported around the body in order to do its job. Actual revival rate: MINISCULE. Viability of drug (under these conditions): NONE.
In conjunction with other resuscitation methods it would probably act like adrenaline, possibly keeping someone alive long enough for surgery. But for the sake of secrecy and the experiment the success rate of the drug would be so close to zero it wouldn't be worth using.
That CPR trick at the end is: (a) MEDICALLY IMPOSSIBLE. 12 minutes dead (timed anyway, death had to have occurred much earlier - see below) with no intervention? Nothing you can do, they're dead and gone. (b) LOGISTICALLY IMPOSSIBLE. (view spoiler)[According to Wikipedia, anaphylaxis can occur 5 to 30 minutes after exposure, and hundreds of bee stings would've accelerated the process. Say it took 10 minutes until death, plus 12 after. Communication boyfriend-friend-agent-aeroplane, finding a suitable place to land, landing and finding/flagging down a car near a small town -30 mins at least. Driving 100mph for 20 miles equals another 12 minutes. (hide spoiler)] Not enough time for help to arrive and still be of any use.
Epic science fail on the science fiction front.
Realistic contemporary YA front Great. There were definitely some perfectly portrayed emotional moments concerning (view spoiler)[The Big C (hide spoiler)]. Even though I guessed correctly about what was up with Audrey it didn't take away the fact that I haven't encountered this issue in paranormal or sci-fi YA before. It was different, new.
Daisy's parental figures, there are three, were all present and/or made an appearance. No disappearing parent syndrome, although caring Mother #1 was replaced by robo-Cassie a.k.a. uncaring Mother #2, or the fem-bot as Daisy calls her. Then there's Mason who I suspected had difficulty staying objective instead of treating his "daughter" like a lab rat, as he should.
Matt, Daisy's love interest, isn't a jerk. Nor is he abusive. He does act out, but he has every reason for doing so, and he apologises for his behaviour. Overall, he's responsible and caring.
Megan is a teenage transgendered character, something I've never encountered in fiction. She's my first. There were a couple of moments I really felt she was a flamboyantly camp stereotype, most commonly attributed to gay males, but I overlooked this for her valuable insight and understanding.
The only thing I didn't get were the cultural references to music. Way before my time (I'm 25).
The Conspiracy While I anticipated parts of it I wasn't frustrated by its small element of predictability. It was satisfactory.
Readability Despite the science fails, I kept reading. And eagerly, too. That says a heck of a lot. High quality writing, a fast pace and it demonstrated an excellent understanding of difficult emotions, like guilt and grief.
Cringe-worthiness: Some. The ooey-gooey crush developing into a romance, the divulging of dangerous secrets when it wouldn't benefit a certain party, and a little Mary Sue-ness.
Anyone who's seen this movie will know what I mean. Presenting a fake family unit to the outside world, selling the perfect family to the public when in reality none of them are related or romantically involved with each other, and all of them employees of the same organisation. It's all pretend. David Duchovny is Mason, playing the role of Dad, with the same ensuing emotional development of deepening attachment to a character, but in this case, of the father-daughter variety. Fake names, documents, moving house every time the cover's blown, again, all reminiscent of the movie.
The head of the organisation in the book is nicknamed "God" for playing god by resurrecting the dead. His employees are his "Disciples", and Revived children, "Converts". It makes a surreal sort of sense.
Conclusion Usually, failing so completely on the science will earn a book 1, maybe 2 stars, and will be forever consigned to the shit-list shelf. No, 3 stars this time. Even though the romance seemed typically thin at first, it grew into something real, while the emotions of all involved were also authentic. I didn't hate the characters, a common complaint with me. Being a stand alone also helps its case. If I see other works by Patrick in my local library's catalogue, I wouldn't say no to reading them, but I wouldn't trust the science!["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>...more
Allison is working in a bookstore when zombies attack sending her and the rest of the staff behind the reinforced door to the backrooms. There they wait for rescue and struggle to subsist on what they have. Allison discovers a wireless internet network and searches for information and other survivors which escalates into blogging her experiences while others from around the world comment. The pace picks up when a zombie squirrel* enters the picture and shatters all illusions of their relatively safe existence thus far, and Allison continues to post as survival forces her to travel.
Personalities and physical descriptions are fully formed. Most of the characters are quite distinct apart from the Black Earth Wives, the remains of a religious community who evolve into faceless, cardboard-cutout zealots hellbent on stamping out the sinners and the damned (zombies) and re-populating Earth by means of kidnap and rape of surviving men and women, and those who refuse are either burned alive or sacrificed to the walking dead. Nice.
Roux/Allison shied away from giving details in certain areas. Apparently being able to clean your ears is more important than having tampons. Things like intimacy and sex are omitted or very briefly mentioned at the wrong moments. Allison's relationship with Collin is ambiguous for a while because not enough information is given. Are they together? Are they having sex? Do they even have condoms? We find out later there was a limited supply of condoms but at a point when this was no longer an issue for Allison.
There's a strong focus on relationships. Allison's need to reconnect with her mother -a cancer sufferer, the trials and tribulations of two marriages and an engaged couple, plus Allison's own romance issues, and the responsibility of caring for children. It get's pretty messy. I'm disappointed by the out the author gives for (view spoiler)[Collin and Allison from his marriage by pairing his wife and nephew up and leaving them elsewhere. It's inexplicable when Lydia obviously wanted Collin. I guess there wasn't time to explore that side of things (hide spoiler)].
Allie makes some understandable mistakes, however, some of her decisions are either TSTL or extremely rash. In particular, her decision to sneak out and leave the group to go it alone, which under the circumstances I can understand why she would want to do this but it seemed an incredibly stupid thing to do and perhaps selfish for depriving a group she's come to know and care about of a valuable resource. Her sadistic revenge on the thief I tried to put down to adrenaline and stress but it's hard to forgive when she had the option to kill rather than torture and maim. Roux appears to realise she's turned the audience against her heroine and has Allie feel remorseful and shock at her own actions at a later date. After this her likability fell through the floor. And her crazy, outlandish heroics fell on deaf ears.
Far more detail is given at the beginning with a slower pace becoming increasingly rushed to a short, summarized ending. Frustrating and unsatisfying. I felt Julian was short-changed and deserved more page time to discover his motivation for leaving his only family and how he felt about it. I'm not even sure we get a proper physical description other than his injuries. (view spoiler)[I was sad at his passing. (hide spoiler)] Mourning deaths is almost non-existent, once they're gone, they're gone although only unnecessary and useless characters die (view spoiler)[except for Julian, a doctor (hide spoiler)]. Zombie cliche alert. "MY SON ATE MY BABY GIRL!" was as close as we got to heart-wrenching grief.
*Eating meat will have to be a thing of the past if animals can be zombified. Also, the human race may be f*cked. Maybe it only affects mammals though. That would explain why the fish and birds seemed unaffected. Then again, the squirrel is the only infected animal we come across. So, can animals be infected, or not?
Unfortunately The Restorer reminded me of Prophecy of the Sisters due to the dreadfully slow pace and verbose prose reminiscent of 19th century literaUnfortunately The Restorer reminded me of Prophecy of the Sisters due to the dreadfully slow pace and verbose prose reminiscent of 19th century literature but without the flair and beauty of the prominent writers of the time who could effortlessly produce graceful descriptions of a haunting nature, Victorian gothic-style. Edgar Allan Poe, for example. The dialogue, also, had an oddly formal quality to it that most modern English speakers don't use anymore. This made the book seem unnecessarily long-winded like an incessantly chatty person who goes on and on about nothing in particular.
Very little happened in the first half, it was painfully boring and repetitive (her father's damn rules), and the second was almost as bad. The scenes down in the well and it's tunnels were the most fascinating sections in the book but they only constitute perhaps 50 pages in total. Within those pages we get a glimpse at Amelia and Devlin's psyches as they explored those ancient and neglected passageways, trying to find a way out, hoping they wouldn't stumble upon the murderer in the dark shadows where he would have the upper hand.
Amelia is hollow. Devoid of meaningful experiences. Virginal. Naive. She's an eternal good girl with a lifeless but practical life, a perfectionist. Almost robotic. Constrained by her father's rules and her own fear that she'll attract the attention of a ghost which could attach itself to her and psychically drain her energy, she's never thought to break them even once to see what would happen. Until now, sort of. Passively. She doesn't actively break them, she just lets things naturally progress instead of stepping back as she was told to by her father. This makes her both an uninteresting and irksome heroine who's only appearance of growth is the emergence of curiosity as she turns amateur detective. What is there to like about that?
Devlin, the homicide detective, is almost the opposite. He has spirit (dulled somewhat by his guilt and grief over the loss of his wife and child, whose ghosts are sucking the life out of him), and from what others have said; he once was a very passionate man. But still, we don't really get to know him past his strong sense of honor, justice and nobility.
The romance aspect isn't one I cared for. Stevens appears to snap her fingers, forcing their chemistry, their kiss. The tug of war: Devlin's unconscious succubus-like siphoning of Amelia's strength when they're physically close, her father's warnings telling her to walk away, together with Devlin's reluctance to let his dead wife and daughter go so he can move on plus the ever-presence of their ghosts, against their mutual attraction, was tiresome and in no way was that war resolved here.
Pushed into the background was the mystery. Everything was concentrated on the deaths and burials but not the hunt for the killer. Also, too many other things were going on, too many unrevealed secrets and answers to questions Amelia's never been brave enough to ask her parents about. Ones that aren't unveiled in this book. My mind didn't try to solve the mystery of the murderer, I think, because I didn't care.
I didn't care. I wasn't invested in the outcome, the characters or the writing. I wasn't enchanted by the imagery or chilled by the ghosts. I felt the book was unfocused and aimless, unproductive. It needed tightening up, to be whipped into shape for a faster pace and a clearer message would've made Amelia's first journey out into the real world far more enjoyable....more