Why You Need to Read: “Down Among the Sticks and Bones”

Wayward Children, #2: Down Among the Sticks and Bones

By: Seanan McGuire

Published: June 13, 2017

Genre: Fantasy

*Winner of: ALA Alex Award 2018, ALA RUSA Fantasy Award 2018

            It did not occur to Jill that Jack’s avoidance, like her own, had been born purely of parental desire and never of a sincere wanting. Their parents had done everything they could to blur the lines of twinhood, leaving Jack and Jill stuck in the middle, (6: The First Night of Safety). 

            Series of any kind—books, movies, TV shows (including anime), video games, etc.—remain intriguing. One of the many reasons series continue to fascinate everyone is due to the ways the elements—the story, the characters, the setting, etc.—keep us immersed within them. Another reason is because of the creators of these series. They have to come up with creative ways not only to keep our interest, but also find ways to make us want more from them. Not to mention, some of the creators find ways to expand on their world through their series. Series are not limited to any genre or any format, but it seems speculative fiction captivates our expectations when it comes to using series to expand on everyone’s desires, especially the creators’. And, series can be presented to the audience in any order the creator wants to present them. Seanan McGuire is such an author who presents her Wayward Children series across moments in time. Down Among the Sticks and Bones is the second book in the series, which takes place before the events in its predecessor, Every Heart A Doorway

            The protagonists in this story are Jacqueline and Jillian Wolcott—also known as, and preferred to be called, Jack and Jill—identical twins with different personalities yet similar demeanors. Both girls had the unfortunate luck of being born to Chester and Serena Wolcott who believe having children would move them up the social ladder (and yes, such adults still exist, sadly). The parents take this notion to extreme levels by forcing their daughters into roles of binary femininity—the girly-girl, Jack; and, the tomboy, Jill. Unfortunately for the twins, the style of parenting forced upon them not only messes up their idea of what femininity is, but also causes a crescendo of sibling rivalry instead of sisterhood. Jacqueline, who always wore dresses she could never get dirty, wants to prove she knows more than what others let on—which she does. Jillian, who cannot decide whether or not her short hair and her boyish clothes make her a freak, wants nothing more than to have any sort of affection from anybody—which she deserves. It comes as no surprise their Door leads to the Moors, a place which reminds travelers of black-and-white monster movies (where monsters are “born”). Once there, the twins are separated—physically—for the first time, and will remain that way for the next 5 years, through most of their adolescence. Jack goes with Dr. Bleak to become his apprentice, which allows her to learn everything she could ever want; and, Jill goes with the Master—a real monster—who showers her with all of the affection and the attention she always craved. As the twins grow apart with their new parental figures, it comes as no surprise Jack and Jill develop a spectrum of psychopathic behavior, one way more extreme than the other. 

            The plot of this story revolves around the birth, the upbringings—remember, they each had 2—and the growth of the twins into what they become by their 17th birthday. Yes, the Moors cemented Jack and Jill into monsters; but, one could argue their parents put them on that path before their Door appeared. There are two subplots which develop alongside the plot and are essential to the story. The first subplot follows how the twins gain separate identities, something that was denied to them by their parents, but explored in the Moors. The second subplot delves into types of parenting, especially toxic parenting. There are 5 adults who “parent” Jack and Jill, and 3 of them would be labeled as “toxic.” These subplots and the plot are important to the story because readers get an understanding of the nurturing the twins endured throughout their entire childhood. Keeping this in mind, while Jack and Jill are not responsible for their adult role models, they are responsible for their decisions and their actions.

            The narrative in this novella isn’t a flashback, but a look into the past. The points-of-view is 3rd person omniscient, or a narration which moves between the P.O.V.s of multiple (main) characters. In Down Among the Sticks and Bones, the first characters readers are introduced to are Jack and Jill’s parents, Chester and Serena Wolcott. Readers learn the reason why they decided to have children, why their parenting methods are viewed as “toxic,” and their “reactions” to their daughters’ disappearance and their return. Due to the narrative styles used in this book, the characters’ P.O.V.s are reliable because readers follow their streams-of-consciousness. In this case, the readers are able to empathize with (most of) the characters, especially Jack and Jill. This narration is straightforward and engrossing. 

            The style Seanan McGuire uses in Down Among the Sticks and Bones can be argued as becoming “the villain.” I’m NOT an expert in psychology, but it has been mentioned by several experts that neglected and abused children often crave love and affection and are willing to do just about anything to get it. However, if those parents and/or adult role models are “toxic,” or are “parents who inflict ongoing trauma, abuse, and denigration on their children,” (Forward and Buck, 12). The author’s use of specific moments Chester and Serena and the Master inflicted the identities and the roles they wanted onto their daughters—throwing away gifts from Gemma Lou, murdering playmates, etc.—foreshadows the behaviors (i.e. Obsession Compulsive Disorder, or OCD) and the traits (i.e. eager-to-please) the twins will exhibit in the future. This story is NOT a parenting book, but a cautionary tale of children and how they are individuals, and NOT blank slates to force into a role of the adults’ choosing. The mood in this story is duality. Jacqueline and Jillian are identical twins—who are nicknamed after the nursery rhyme by everyone but their parents—who are forced into the false binary roles of femininity—girly and tomboy—by their parents, who are brought up separately in the Moors later on by 2 new “role models” as the mad scientist’s apprentice and the vampire’s daughter—two of the most notorious “monsters” in literature. This book is the first in the series to include illustrations—by the talented Rovina Cai—and they present the moments of “love” the twins experienced during their stay at the Moors. 

            The appeal for this book have been positive. It was nominated for the same literary awards as its predecessor. Yet, it was the American Library Association, or the ALA, who gave this novella its accolades winning both the Alex Award—given to 10 books written for adults that have special appeal to young adults, ages 12 through 18—and, the ALA RUSA Award—an annual best-of-list comprised of 8 different fiction genres for adult readers—in Fantasy. These awards—given by librarians—demonstrate readers of most ages can read and appreciate this book. And, while this book takes place before the events of Every Heart A Doorway, you should read that book before reading this one. That way readers won’t get confused about the book’s context. After learning about the world Jack and Jill traveled to, who wouldn’t want to learn what happens in the next book in the series, Beneath the Sugar Sky?

            Down Among the Sticks and Bones is an engrossing follow up to its predecessor. Readers get a look into how the twins lived before finding their Door and living in a new world who embraced them for better and for worse. Seanan McGuire uses duality in order to give readers the beauty and the horror in everything from gender identity to parental figures. Which world will we travel to next?

My Rating: MUST READ IT NOW (5 out of 5)!!!

                                                            List of Works Cited

Forward, Susan, and Craig Buck. Toxic Parents: Overcoming Their Hurtful Legacy and Reclaiming Your Life.

e- book, Bantam, 2009. 

Why You Need to Read: “Every Heart A Doorway”

Wayward Children, #1: Every Heart A Doorway

By: Seanan McGuire

Published: April 5, 2016

Genre: Fantasy

*Winner of: Hugo Award for Best Novella 2017, Nebula Award for Best Novella 2016, Locus Award for Best Novella 2017, ALA Alex Award 2017

            …the wanting. You want to go back, and so you hold on to the habits you learned while you were traveling, because it’s better than admitting the journey’s over. We don’t teach you how to dwell. We also don’t teach you how to forget. We teach you how to move on, (3: Birds of a Feather). 

            Anyone who is a fan of Lewis Carroll, L. Frank Baum, C.S. Lewis, Philip Pullman, and authors who write similar stories MUST READ THIS SERIES!!! The Wayward Children books are a portal fantasy series which asks the question: what happens when those who are “spirited away” return to our world? Seanan McGuire answers this question in her series. While it is obvious which stories inspired and influenced the author, the originality will draw readers into this series. It mentions how a combination of Time and Desire can lead to a portal to another world. And, there are many worlds which we are familiar with whether or not we realize it. They are allusions to other portal fantasy and adventure books and readers have to recall all of them in order to comprehend the series. 

            While there are several characters in this book—the students and the (resident) teachers are “travelers”—the protagonist is Nancy, the newest arrival at Eleanor West’s Home For Wayward Children: No Solicitation, No Visitors, No Quests. She is 17-years-old and was “gone” for six months in the Halls of the Dead before the Lord of the Dead returned Nancy to our world so that she can “Be Sure” before making her choice to stay there forever. It’s been “seven weeks, four days” and counting, and Nancy is waiting for her Door to reappear. Nancy is like many of the students at the school, she wants to return Home, but knows there is a slim chance of it happening. Nancy’s parents send her to this school so she can “get better,” but Nancy learns quickly that the school is a haven for other children like her who want nothing more than to return to their Homes. There’s Sumi—Nancy’s roommate—who traveled to Confection and cannot sit still long enough to hold a conversation. Kade—a relative of Eleanor’s—who was kicked out of Fairyland and is in charge of managing everyone’s “preferred” wardrobe. Jacqueline and Jillian—known as Jack and Jill—are identical twins whose adventures in the Moors is something out of a black-and-white horror movie. And, Christopher who traveled to a world of “happy, dancing skeletons” similar to the holiday, Día de los Muertos. The adults in charge consist of Eleanor West, the headmistress, whose Door is still open; and, Lundy, the school’s therapist, who is aging in reverse as punishment for breaking the rules of the High Logic, High Wicked world she “visited.” Unlike Eleanor, Lundy knows she can never return to her Home, and so she projects her bitterness on to the students. All of the residents at the school want to go Home, but they all have to settle on having to learn how to readapt in our world. And yet, many of the students refuse to believe their Doors are lost to them forever. 

            There are 2 plots in Every Heart A Doorway. The first is learning how the school operates and how Eleanor recruits students while keeping them safe. The second is the construction of the “Great Compass.” Eleanor, Lundy and Kade spend their free time compiling a book of the descriptions and the characteristics of each world. The most common “directions” are: Nonsense, Virtue, Logic and Wicked; then, there are several “minor” compass directions such as Rhyme and Linearity. These plots are continuous throughout the series, and it is fascinating to learn how the school is managed, and it’s intriguing to learn which worlds are “connected” to one another. However, it is the subplots that keep the readers engaged, and there are two of them. The first concerns the murders of some of the school’s residents. Who is killing them and why? The second subplot follows the worlds each traveler visited and the “stereotypes” surrounding each one. For example, who’s to decide on whether or not a world of rainbows is “good” over the world with skeleton people? All worlds whether or not they exist in reality contain both beauty and danger.

            The narrative in this story follow’s Nancy’s point-of-view; but, she does not remain as the only P.O.V. character in this story. There are times when the P.O.V. switches to other characters, even for a paragraph. So, this narration is presented using 3rd person limited omniscience. Due to the style of narration, the protagonist—and, the other P.O.V. characters—are reliable narrators. Not to mention, readers get the characters’ streams-of-consciousness throughout the story. It should be mentioned whenever the characters are talking about their Homes—both their worlds and their families—they are as memories, NOT flashbacks! This is because the characters are describing their experiences as they remember them; and, some of those recollections are unreliable because they are from their perspectives, which are biased. 

            The style Seanan McGuire presents is a twist on portal and quest fantasies. Farah Mendlesohn defines “Portal-Quest Fantasy” as: “In both portal and quest fantasies, a character leaves her familiar surroundings and passes through a portal into an unknown place. Although portal fantasies do not ‘have’ to be quest fantasies the overwhelming majority are,” (Mendlesohn, 1). McGuire asks the question: what happens if the ‘hero’ or the ‘traveler’ returns to our world? On the one hand, Alice from Alice’s Adventures in Wonderland goes back to Wonderland in Through the Looking Glass before returning to our world for the rest of her life. On the other hand, Dorothy from the Oz series traveled to Oz so often, she, her aunt and her uncle, and Toto move there permanently. So, why did one stay in our world while the other one didn’t? Would Alice have stayed in Wonderland if she was given a choice? And, the characters from McGuire’s story, what would they give to return Home? The author asks these questions as these children return from their travels changed, and are suffering—NOT from PTSD—but from struggling to return to their mundane existence. The allusions to all of the stories and their authors mentioned are informative and valid. Instead of the “familiar” fantasy stories and fairy tales we believe we know, readers receive the dark lore and the styles from other variants of folklore and fantasy stories. And, it’s the reality check fantasy readers didn’t know they needed. The mood in Every Heart A Doorway is a haven for all of the travelers. The tone in this story is how each character struggles to accept their current predicament. Some have accepted it and others continue to search for their Doors.  

            The appeal for Every Heart A Doorway were and continue to be multitudinous. Not only did this novella win several awards—including the Hugo and the Nebula—but also gain numerous readers who were introduced to the author and her other books, including myself! This book and the other ones in the Wayward Children series belong in the speculative fiction canon, and have lasting appeal because of the characters and their stories. The fact this continues to be an ongoing series will have fans rereading this book over and over again. In fact, Tor.com announced fans and readers can expect the series to have at least 4 more books, bringing the current total to 10 books!

            Every Heart A Doorway is an amazing and unique look into how diversified fantasy is based on all of the worlds the characters have traveled to, and why all of the authors who wrote similar stories believed their characters were better off returning whence they came from instead of remaining where they were the happiest. Fans of both traditional and twisted fantasy stories should read this book. This novella will have you searching for your Door.

My Rating: MUST READ IT NOW (5 out of 5)!!!

                                                            List of Works Cited

Mendlesohn, Farah. Rhetorics of Fantasy. Wesleyan, 2008.

TV Episode Review: “His Dark Materials”: “The Theft”

The episode opens with the devastation left behind by the Magisterium on the witches, who swear vengeance against them. However, the clans acknowledge that their priority is to search for Lyra Silvertongue before the Great War begins. Unfortunately, they have no idea where she could be. 

            Lee Scoresby continues his search for Lyra—in his world—by searching for Doctor Stanislaus Grumman, in which rumors say that he is in possession of a “weapon” that offers protection. It seems that Scoresby is more of a gunslinger than an aeronaut in this adaptation, yet his conviction for finding Lyra and helping the witches continues to bring out the best in him. His interrogation with Mrs. Coulter is very interesting because viewers gain more understanding of Lee’s character as well as how and why he became an aeronaut (on the TV series anyway). As for Mrs. Coulter, I believe it’s safe to say that she recalls what it’s like to have the Magisterium looking for you. 

            Meanwhile, Lyra decides to return to Will’s (our) world, without him, which leaves Will searching through the World of Specters for her. These scenes are altered so that Lyra appears more careless in Will’s world and disregards Will’s warnings about “people searching for them.” Lyra loses the Alethiometer because she ignores her instincts and does what she shouldn’t do. In the books, Lyra is unaware anyone from her world is familiar with Will’s world. 

            Dr. Malone continues her research on Dark Matter based on what Lyra told her about Dust. In these scenes, viewers learn more about her character, including her lifestyle as a scholar, and what she must do in order to make the breakthrough in her research. And, she’s closer than she realizes.  

            As Will continues to search for Lyra, he meets up with Angelica who continues to warn Will about the Specters. Angelica explains to Will why the Tower is so significant in her world. It seems that scholars are very significant to the plot of this story. The scene at the movie theater is straight from the books. After Will finds Lyra, they go in search of the man who took the Alethiometer. They find the man who stole the Alethiometer, and he offers to trade it for another item, which both Will and Lyra have to retrieve. 

            In all, this episode is more in line with the chapters from The Subtle Knife. The expansion of character development and dialogue demonstrates where all of the characters stand at this point in the mini-series. Readers of the books know what to expect in the next episode, but the viewers are about to learn more about the workings of Dust.

My Rating: 8.5 out of 10

Why You Need to Listen to: “The Original”

The Original

By: Brandon Sanderson & Mary Robinette Kowal                Audiobook: 3 hours 24 minutes

Released: September 14, 2020                                                       Narrated by: Julia Whelan

Genre: Science Fiction/Thriller

            Have you ever listened to any audio story or audio narrative without the text or any visuals to follow along to? I believe the most familiar example of this would be Peter and the Wolf. This Russian “symphonic fairy tale” is presented with specific orchestra ensembles representing each of the characters with a narrator telling the rest of the story. There are audiobooks which are standalones (as in no written edition) and it relies on an excellent narration and an engaging story so that the audience’s attention is maintained from start to finish. The Original by both Brandon Sanderson and Mary Robinette Kowal demonstrates a strong collaboration, but it is the talent of Julia Whelan that gives life to the story through her narration. 

            Holly is the protagonist. She wakes up in a hospital with no memory of how she got there; and, her husband, Jonathan, isn’t with her. She is told by doctors and by Detective Skylar that she is a Clone of the “Original” Holly, and that she was created on the orders of a warrant because Holly murdered her husband. On top of that bit of news, Holly learns she is an “Edited Clone,” which means that changes were made to the body and the DNA that can make a Clone “better” than the “Original.” Finally, Holly is told one more thing: no one can locate the real Holly, and she has to find her and kill her in order to survive. Holly leaves the hospital with her mission to carry out with a set of skills her “Original” doesn’t have and didn’t ask for. The Clone Holly has to shift through shared memories, to survive attacks from people she doesn’t recognize, and to find her Original within 4 days or cease to exist. Does Holly want to live the life of her Original? Can she find her? And, if she does, then will she be able to kill her? 

            The plot is very interesting. A clone awakens, learns the reason for her creation, told her purpose, and is sent to carry it out. Of course, that’s the short version of it. Holly has less than 4 days to find her Original before she ceases to exist because a Clone and its Original cannot exist at the same time. Detective Skylar explains to Holly that after she finds and kills her Original she can live her life for the duration of hers. Meanwhile, Holly is trying to figure out what led her Original to kill Jonathan. She goes through her memories of her relationship and love for Jonathan, his occupation and hers, the last time they were together before the murder, and the murder itself. This leads to Holly having more questions than answers, but she decides that finding her Original and demanding to know why she killed her husband before killing her is how she is going to complete her mission. The subplot is the elements of world-building, many of which includes the idea behind clones and other scientific practices the society performs. In addition to clones, nanotechnology exists so that people can reverse aging and accelerate healing. Yet, Holly discovers that nanotechnology and clones are not wanted by everyone, including Jonathan. So, if Jonathan was against the idea of clones, then why is Holly being promised with a clone of Jonathan after she kills her Original? The subplot develops alongside the plot in which both the society and the conflict are explained further as the story continues. 

            The narrative follows the point-of-view of Clone Holly. This makes for an interesting P.O.V. experience because none of her past experiences are hers, and she cannot remember everything of her past before she was created. This is important to know because this means that when Holly remembers something, it is NOT a flashback! It is NOT amnesia! This is because, one, the memory isn’t hers; and two, Holly can’t remember all of the details surrounding those memories. Holly knows that she was created without all of her memories intentionally. This revelation does make Holly’s stream-of-consciousness very interesting because in between Holly’s confusion and exhaustion, the audience knows how frustrated Holly is throughout everything that is happening to her. This knowledge and the experience Holly goes through makes her a reliable narrator. As a clone, she is dependent on what is being told to her. It is obvious she is being manipulated, but it is not her fault. The audio presentation makes the narration easy to follow. 

            The style both Brandon Sanderson and Mary Robinette Kowal used for The Original delves into two “traditional” conflicts: individual versus society, and science versus nature. Reiterating these conflicts within this story not only demonstrates the reality within the fiction, but also leaves the audience to question their identities as well. The word choice used throughout the narrative was done intentionally by the authors so that the audience can comprehend the story with the scientific terminology, which allows for a thought-provoking story without too much thought. The mood in the story is anxiety. Both the protagonist and the audience are anxious throughout the story as both the truth and the existence is at stake for a clone who isn’t sure whether or not she wants to live. The tone gives the vibe of a cautionary tale. This story serves as a warning against scientific advancements and government control over individuals within a society. 

            This audiobook was narrated by Julia Whelan, and I have to say that I am beyond impressed with how she presented this story. Her voice of the characters are easy to distinguish and her voice for the narrative is enough to keep the audience immersed in the story. If it weren’t for the chapters, then it would have been easy to get lost in the story until the very end. I’m looking forward to hearing her narrate other stories in the future. 

            The appeal for this audiobook have been positive. Many listeners seem to enjoy the story, but have mixed feelings of it being just an audiobook. I know many readers don’t always listen to audiobooks, but what makes The Original standout is that it’s only available as an audiobook. I was able to keep up with the story with the narrator’s pace, but I understand if other listeners did not feel the same way. That being said, both Brandon Sanderson and Mary Robinette Kowal have confirmed during a livestream on YouTube that there is no hurry for a written edition of The Original. If an adaptation were to be done for this audiobook, then I could see it as a graphic novel—both the action sequences and the story’s tone is enough to visualize a graphic novel. Fans of science fiction and readers of novellas will enjoy this audiobook the most. In fact, anyone who is on a long commute and/or are doing household chores should listen to this audiobook. This is because by the time you’re done with the commute or with your chores, you should be done with the story and not have to worry about losing your place within the audiobook. 

            The Original is a brilliant collaboration between two bestselling authors of the speculative fiction genre. Do not be intimidated by the fact that this is an audiobook. If you’ve listened to Broadway musicals on audio, then you can handle a sci-fi thriller novella on audio. At least listen to the story for the second twist in this story! Did you really believe these authors would include only one twist? I’m not going to tell you what it is, so you’re going to have to listen to the story to find out what the other twist is, and it’s not what you think it is!

My Rating: Enjoy It (4 out of 5). 

Why You Need to Read: “Black Sun”

Between Earth and Sky, #1: Black Sun

By: Rebecca Roanhorse

Published: October 13, 2020

Genre: Fantasy/Folklore/Historical Fantasy

            This year, the solstice will be marked by the rarest of celestial occurrences. As the year divides into old and new, so also will the earth, sun, and moon align in the Convergence. Over our very heads, we will witness order move to chaos and back to order again. So it is with the heavens, so it will be with Tova. We will bear witness to the cycle of evil rising in darkness to be battled back by goodness and light when the sun prevails, (Chapter 9). 

            Remember when I said that I read Trail of Lightning, the first book in The Sixth World series, because I wanted to determine for myself whether or not the author was as big of a deal as the speculative fiction genre community made her out to be? And, that the author’s book was worth reading? Well, if Trail of Lightning was part of Rebecca Roanhorse’s debut—the other being her award-winning short story, “Welcome to Your Authentic Indian Experience”—then, Black Sun, the first book in the Between Earth and Sky series, cements her status as one of the must-read authors within the genre. 

            There are four protagonists in this novel. First, is Serapio, the son of an Obregi Lord and a foreigner. The foreigner is his mother, Saaya, who along with three others, prepare Serapio towards his destiny of his transcendence to godhood. Second, is Xiala, a female sea captain and an exile from the Teek tribe. She is hired to bring cargo to Tova, one of whom is Serapio. The two exiles form a friendship during their journey to Tova. Along the way, Xiala learns about Serapio and realizes that his magic is just as powerful and as lethal as hers. Third, is Naranpa, one of the four priests in Tova—and, the head of the oracle society. On top of all of her responsibilities, she must deal with several political conspiracies all at once, including: several assassination attempts on her life, rumors surrounding the death of one of the matrons to one of the four tribes, prophecies surrounding the return of the crow god, rumors of what is to come on the winter solstice, talks of revenge for an event of the past, and the plot to have her removed from her seat of power. With all of these political conspiracies surrounding her, Naranpa doesn’t know who to trust. This includes Iktan—head of the knife society—one of the other four priests and Naranpa’s friend. The fourth and final protagonist is Okoa, the son of the Carrion Crow matron and future leader of the Shield, a military troop who serve as the matron’s bodyguards. After his mother’s death, Okoa rises to his role. During the transition, he uncovers two conspiracies. One is about his mother’s death, and the other is about the cultists from his tribe who believe their god can be raised and returned to them so that past wrongs can be paid back through divine retribution. All of these protagonists are complex people who find themselves being responsible for a group of people, and their choices affect those around them and everything they care about. As “The Day of Convergence” approaches, each of the protagonists develop into the individuals their roles demand of them to the point where not even the secondary characters can divert them from their path. 

            The plot of this novel involves the events that lead up to “The Day of Convergence,” which falls on the winter solstice. The plot develops through each of the protagonists as they uncover the mystery of what is to occur on that day, and whether or not it can be prevented. Serapio travels to Tova in order to fulfill his destiny of becoming a god, as per his mother’s actions. Naranpa is doing everything she can to remain the Sun Priest of the Celestial Tower while uncovering a plot of revenge against the Faith for a treacherous transgression from the past which left hundreds dead. Okoa is trying to unravel the events that led up to his mother’s death while trying to shake off the unwanted attention of his tribe’s cultist group. And, Xiala is trying to keep her powers in check while deciding whether or not to bring the apocalypse into Tova. While these appear to be four separate plots, they converge into one unforgettable moment when all of the protagonists must decide on acting on their destiny, or doing the right thing. There are two subplots within this novel which not only explains the plots, but also the motivations for the actions that take place at the novel’s end. The first one is vengeance. Vengeance, while mentioned from time-to-time, plays a large role in the story. Usually, the reason for an act of revenge depends on those who want it; but, in this case, everyone is expecting it. It all depends on who is involved and when the act will be carried out. The second subplot involves religion and magic. Similar to our world and other fantasy worlds, there are a few religions, each with its own rituals and practices. Some of this involves magic and how those in the out-group view that magic as opposed to their magic. Some of it is accepted, some are based in superstition, and a lot of it is forbidden; yet, it is all real and powerful, especially when done correctly. These subplots play a huge role in the plot development and must not be overlooked by the reader(s).

            The narratives are told from the points-of-view of the four protagonists. And, they are in third-person limited, which means readers know only what each protagonist is thinking and is experiencing at one time. Even when two characters are together, we are limited only to one character’s P.O.V. The sequence of the narration jumps back-and-forth from the start of Serapio’s transcendence to “The Day of Convergence” to the aftermath. While the sequence might come off as confusing, it is not because readers learn of all of the essential events leading up to the winter solstice from multiple P.O.V.s. So, while the narration moves from past to present, it follows a stream-of-consciousness of each protagonist so that we gain a better understanding of them, their culture, and their motivation of their actions. This presents the readers with a reliable narration (from each protagonist) that can be followed easily.

            The style Rebecca Roanhorse uses for her new series is amazing and informative. Once again, she draws on inspiration from her Native American heritage; but this time, the author draws on inspiration from Yucatec Mayan, Tewa, Polynesian and pre-Columbian cultures of the Americas, many of which continues to be glossed over in school curriculums worldwide. Some of what I recall of ancient pre-Columbian societies (i.e. Mayan, Aztec, Inca, etc.) involve rituals and ceremonies to the gods, and their calendar, which was accurate. History and folklore aside, the use of foreshadowing and of characterization enhances the story to the point where readers known what is going to happen and why, and that there was no way to prevent the events from happening. By the time everything is revealed, the protagonists have made their decisions, and what is going to happen, happens. This leaves the reader(s) stunned, yet anticipating what will happen next during the aftermath of those events. It’s a shocking and an impressive move by the author. The mood in this novel is preparation. Everything that happens in this novel revolves on the winter solstice. To many, the day marks a celebration. To the protagonists and the other characters involved, it’s a day of dread, retribution, and change. The tone of the novel is fate. Without getting into too many spoilers, two of the protagonists were predestined to be part of “The Day of Convergence,” but an argument can be made that they could have chosen to resist that fate at any given time before that day. In fact, the choices of the other two protagonists should be noted as well because they all have no choice but to live with the decisions they make leading up to the winter solstice. I read an eARC of this book, and it did NOT come with any maps of the setting. Luckily, Rebecca Roanhorse provided some of the maps through Tor.com, which made picturing the mentioned towns and the distance between the cities easier.

            The appeal for Black Sun is already positive. So far, literary critics and other authors have praised Rebecca Roanhorse for the story she has written. Fans of the author’s urban fantasy series will be impressed with how the author can fuse her heritage into one story of the past and another story of the future. Not to mention that this book is an amazing addition to the fantasy canon, and will leave readers anticipating the second book in this series. Fans of historical and/or mythological fantasy—Tasha Suri, S.A. Chakraborty, Evan Winter and Silvia Moreno-Garcia—should read this book as soon as they are able to, they will enjoy it a lot.

            Black Sun is proof that Rebecca Roanhorse can weave her talent and her heritage into powerful stories over and over again. If you need a reason to read one of her books, or if you want to read a fantasy series that will take your expectations to another level, then you really should read this book. It has everything from magic and prophecies to political power struggle based on a moment in human history, in which it all could have happened, but its setting is a fantasy world. I don’t know about you, but while I’m waiting for Book 2 of this series, I’ll be reading Storm of Locusts, Book 2 in the author’s other series. Enjoy!      

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “Vengeful”

Villains, #2: Vengeful

By: V.E. Schwab

Published: September 25, 2018

Genre: Science Fiction/Urban Fantasy/Superheroes

            “Most Eos are the result of accidents,” he said, studying the snow. “But Eli and I were different. We set out to find a way to effect the change. Incidentally, it’s remarkable difficult to do. Dying with intent, reviving with control. Finding a way to end a life but keep it in arm’s reach, and all without rendering the body unusable. On top of that, you need a method that strips enough control from the subject to make them afraid, because you need the chemical properties induced by fear and adrenaline to trigger a somatic change.”

 –1: Resurrection, VIII: Three Years Ago: Capital City

            Authors and creators have many works which demonstrate the change and the divergence their careers have taken them through time. Each “period” of the artist presents both the influence and the expression of the artist(s) at that time. This is essential to know because the audience will have their favorite “periods” and/or their favorite work(s) from each “period.” This is relevant because the creator will work with either different mediums and/or different themes, while the author will write several stories of various genres for different readers. V.E. Schwab has written several books for children and young adults readers; however, it is her stories for adults in which fans and readers notice both the talent and the desire found within the narrative in that we all get the story we want so badly. V.E. Schwab does it twice, as we see in Vengeful, the sequel to Vicious, the second book in the Villains series. 

            There are 4 protagonists in this novel. The first 3 are familiar: Victor Vale, Eli Ever and Sydney Clarke. Readers meet up with them following the events at the end of Vicious. However, that end was just an end of those set of problems as new ones emerge. All three protagonists have experienced the wonders of their EO abilities, but now are understanding the consequences that come with them. Victor and Eli experience more physical pain now compared to all of the emotional pain they felt before they became EOs. Sydney’s difficulties are more long-term and obvious, but she experiences more loneliness after the death of her sister, Serena. Being an “Extra Ordinary” is wonderful and life-changing, until reality sets in. This truth transforms all three of these protagonists into vulnerable beings. And, while Sydney is no stranger to being vulnerable—she is 13-years-old at the beginning of this novel—both Eli and Victor are not. These “powerful” males are struggling to regain control over both their abilities and their lives. All the while, a new EO rises to become ‘The Villain.’ Marcella Riggins is the 4th protagonist, the newest EO, and the next villain to be dealt with in this series. The novel opens with her life, her death, her rebirth, and her EO abilities, which put her on the same level as Victor Vale and Eli Ever. The latter are examples of toxic masculinity, but Marcella Riggins is a perfect example of “a woman scorned.” When all 4 of these protagonists meet up—for 3 of them, it’s a dangerous reunion—chaos will ensue and A LOT of people will die. 

            There are several plots within this novel and it’s because there are so many protagonists, with different conflicts in the story. First, there is Marcella Riggins. Her life and her death are mentioned as they influence the EO she becomes. Readers have no choice but to sympathize with her, even when Marcella becomes drunk on power and seeks to seize control of the city her late husband would not. Eli Ever is in prison serving multiple life sentences for all of his crimes. However, he is kept in a “special” high secured prison where Eli becomes the obsession of physician whose toxic masculinity makes Eli’s (and Victor’s) look “normal.” Readers actually feel bad for Eli once his experiences at the prison, and in his life before he met Victor, are revealed. Victor Vale is enjoying his life as a free man, yet again. Only, his EO ability isn’t what it used to be. Not used to being not in control of his life, Victor seeks help for his EO ability in his way, which usually ends up with people dying. As for Sydney Clarke, she continues to hone her EO ability, which continues to strengthen. This is significant because Sydney’s ability grows while her body seem to remain the same. There are two subplots which help to enhance the story. The first is the introduction to other EOs who help with the development of who EOs are, their understanding of their abilities, how they use it and why, and who knows about EOs. The second subplot delves right back into the concept of negative emotions and how they are expressed. This subplot is a repeated one, but whereas males were observed in Vicious, females act out on them in Vengeful. And, there are just as many angry females as there are males. The subplots are necessary because not only do they enhance the story, but also they expand on the concept of EOs and their world which is hidden from most of the remaining population. Meanwhile, the plots develop as several individual rising actions are working their way towards a climax amongst the protagonists, which promises the reader(s) that something big is about to happen. 

            The narrative is told from the points-of-view of all 4 protagonists across a 5-year time frame, which jumps across various moments in time. While the novel starts with Marcella Riggins’ P.O.V., the narrative jumps back to what happened to Victor Vale 5 years ago—the ending of Vicious. From that point and for the duration of this novel, the time sequence goes from the present to one moment in the past to another moment in the past. This is not so much of a flashback sequence, but a narrative frame in order to explain to the reader(s) what is happening to a certain protagonist at a certain time, and then jump ahead to the consequences of those past actions. While it may sound confusing, it isn’t because as the past is explained so are the actions and the motivations of the characters. The points-of-view are in 3rd person limited (or, subjective). This means that during one character’s P.O.V. chapter, neither the readers nor that character knows the thoughts of another character. For the reader, the thoughts of the other character may or may not get revealed to them in another chapter. The characters will never know what the other ones are thinking (just like in real life). 

            The style V.E. Schwab uses in Vengeful is a continuation from what she did in Vicious. The characters had to lose something in order to become EOs; and yet, they continue to lose parts of themselves as they become more powerful. Similar to related themes found in comic books and superhero stories, the characters lose more of their humanity as they continue on the path to become separate entities. The mood in this novel is dread. From Marcella Riggins’ death and rebirth, a new sensation of awe and fear emerges and no one knows what will come from it, but it won’t be anything good. The tone in this novel is the preparation. The upcoming showdown that is foreseen due to the rise of Marcella Riggins will keep EOs (and readers) in anticipation. Readers know that Eli Ever and Victor Vale must reunite, but the reason for it remains unknown to all, even to the two former friends. If Vicious was the origins story, then Vengeful is the action movie sequel!

            The appeal for Vengeful have been positive. Fans of both V.E. Schwab’s other books, including Vicious, have claimed it is one of her best stories, yet. In addition to gaining (more) new readers, myself included, Vengeful has reminded readers not only of comic books and superheroes, but also of (great) action movies. V.E. Schwab is a huge fan of the John Wick movies (just like I am), and she has said more than once that both the fight scenes and the world-building were influences for her Villains series. And no, I have not located the John Wick Easter Egg in Vengeful, yet (DO NOT TELL ME WHERE IT IS!), it is obvious that the climactic scene was influenced by it A LOT! The author has promised her fans at least one more book in this series, with a publication date as early as 2023 (she takes 5 years to write each book). With at least 2 more John Wick movies scheduled to be released in between Vengeful and Book 3, I can only imagine the story that will emerge from V.E. Schwab’s imagination in response to those movies.

            Vengeful is the beautiful yet dark and twisted sequel to the story about the reality of the metaphysical. Fans and readers are reminded why possessing such powers and desiring to become extraordinary should remain restricted. Not only are there long-term consequences to gaining such powers, but also not everyone should possess such abilities. There was a reason this book made my list of My Selections for Best Speculative Fiction Books of 2018! If I still enjoy this book now as I did then, then you will love it, too!

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “Gideon the Ninth”

The Locked Tomb #1: Gideon the Ninth

By: Tasmyn Muir                                                                   Audiobook: 16 hours 50 minutes

Published: September 10, 2019                                              Narrated by: Moira Quirk

Genre: Dark Fantasy/Gothic

            When as a young and disinclined member of the Locked Tomb Gideon had painted her face, she had gone for the bare minimum of death’s-head that the role demanded: dark around the eyes, a bit around the nose, a slack black slash across the lips. Now as Harrowhark gave her a little palm of cracked mirror, she saw that she was painted like the ancient, tottering necromancers of the House: those ghastly and unsettling sages who never seemed to die, just disappear into the long galleries of books and coffins beneath Drearburh. She’d been slapped up to look like a grim-toothed, black-socketed skull, with big black holes on each side of the mandible.

            Gideon said drearily, “I look like a douche,” (5). 

            Hype and marketing for a book is an interesting feat some people find themselves in. Publishers and bookstores—usually through marketers—are paid to advertise such books for sale. Librarians read these books in order to determine whether or not the book(s) are “appropriate for their library and/or community.” And, reviewers—including book critics and bookbloggers—read these books and give an opinion on why each book should or should not be read. There are moments when reviews are controversial because they don’t match with the public’s opinion or the hype surrounding the book. That’s not to say that the book is “bad” or written poorly, but it didn’t meet the expectations of the reader. For me, this is what I felt while reading/listening to Gideon the Ninth by Tamsyn Muir.

            The protagonist is eighteen-year-old Gideon Nav, an indentured servant of the Ninth House, who are the Keepers of the Locked Tomb. Gideon’s life at the Ninth House has been nothing but harsh, neglectful, and mysterious. Readers meet Gideon as she tries to leave the Ninth House for the 33rd time. Instead, Gideon is bribed by Harrowhark Nonagesimus—the daughter and heir to the House of the Ninth—to train to be her cavalier so that she can train to become a Lyctor, one of the Imperial Saints for the Emperor. Gideon is promised her freedom if she does this “for the Ninth,” so Gideon and Harrow travel to the House of the First to train and to serve. There Gideon meets and interacts with: Teacher—one of the Keepers of the First House and servant to the Necrolord Heights; Abigail Pent and her cavalier, Magnus Quinn, of the Fifth House; Coronabeth Tridentarius and her cavalier, Protesilaus Eldoma, of the Seventh House; and several other heirs and their cavaliers from the other Houses, and a lot of skeletons. Gideon—while reluctant to serve the Ninth House—does take advantage of being away from the only place she’s known, leaves the planet, and trains in swordsmanship. Gideon does have to follow Harrowhark’s orders—to an extent—but, through her interactions with the other Houses and the tasks she manages to complete with Harrow, Gideon grows into the person she wants to be without interference from the Ninth House: helpful, caring, and strong (in a fight). Meanwhile, the other Houses learn that there’s more to the Ninth House than its titular role. 

            The plot of the novel is straightforward: The Emperor (of the First House) has called for the heirs of the other eight Houses to train to be Lyctors in order to serve as replacements for the current Lyctors. So, each heir and their cavalier travel to the First House where they are trained and are tested to the best of their knowledge and their strength. The nominated Hands must figure out the “puzzle” of their House with their cavalier so that the Hand can become a Lyctor. All of this is easier said than done, but all of the Hands are willing to do it. There are a few subplots in this novel. The first surrounds what it takes and what it means to be a Lyctor. Harrow wants to become one, and she is an extremely talented necromancer, but the testing to become a Lyctor is a process that must be solved by the Hand and the cavalier working together. This is interesting because Gideon and Harrowhark do NOT get along. So, in order to get what they both want, they’ll have to put up with each other to accomplish the goal. The second subplot is the mystery of the Ninth House and its establishment, from the Locked Tomb to the childhoods of both Gideon and Harrow. The other Houses are more curious by this than Gideon is, but Gideon doesn’t know, and Harrow isn’t going to talk about it to anyone. Or, will she? The last subplot focuses on the strange occurrences that begin to happen to the Hands and their cavaliers. Everyone is interested in new recruits arriving at the First House, right? All of these subplots work alongside the plot of the novel in order to embellish the world, the characters and the current predicament within this novel. 

            The narrative in Gideon the Ninth follows a present sequence from Gideon’s point-of-view. Her stream-of-consciousness gives readers insight into her thoughts (cynical, yet curious) while learning about the other eight Houses, which is something that didn’t interest her until now. The world-building—which includes the history and the culture of each House—comes from Gideon’s learning of them. The fight sequences and the many revelations come from Gideon’s P.O.V. Some of what is presented to her is told as a recitation and not as a flashback. This means that Gideon’s reactions are genuine and relatable, which make her a reliable narrator. The narrative is intriguing and is easy to follow. 

            The style Tasmyn Muir uses in her debut novel follows Gothic romance. In short—and, according to A Glossary of Literary Terms—“The locale was often a gloomy castle furnished with dungeons, subterranean passages, and sliding panels; the typical story focused on the sufferings imposed on an innocent heroine by a cruel and lustful villain, and made bountiful use of ghosts, mysterious disappearances, and other sensational and supernatural occurrences,” (p. 151). Fans of Frankenstein by Mary Shelley, The Monk by Matthew Gregory Lewis, Wuthering Heights by Emily Brontë, and Jane Eyre by Charlotte Brontë are familiar with this genre of literature. However, I’m saying that Gideon the Ninth has elements of a gothic novel, NOT that it is one! The “villain” isn’t lustful, the supernatural occurrences—necromancy—is part of the world, and while it does have dungeons and secret passages, the First House isn’t described as being gloomy (when compared to the Ninth House). These gothic elements enhance the story the author is telling, which she does very well. The mood in this novel is anticipation. The summons from the First House does not only contain orders to attend, but also a chance to serve the Emperor, which is something the heirs are taught to do from childhood; and, their cavaliers get to serve their Houses. The tone in this book is dread. In a world where necromancy is the magic used and the setting is gothic, readers should expect more than a few unpleasant things to occur throughout the narrative. 

            I listened to the audiobook, which was narrated by Moira Quirk. She does a great job with narrating the story, voicing the various characters, and with the pronunciation of the characters’ names. I would not have been able to pronounce ANY of those names on my own, so to say that the audiobook was a huge help would be an understatement. The narration kept me engaged with the story as well.

            The appeal for Gideon the Ninth have been positive. Not only has the book, and the author, received a lot of fan and critical acclaim, but also has been nominated for several awards including the Nebula and the Hugo Awards. I can see how this book can become part of the (dark) fantasy canon and how it will have lasting appeal. However, this book neither was worth the hype nor was the best debut novel I’ve read. I’m not the only bookblogger who feels this way about this book. Then again, I’m not saying that you shouldn’t read it. The story itself kept my interest to the end; enough so that I want to read the sequel, Harrow the Ninth, when it is released in September 2020. This book wasn’t my favorite one, but my interest is piqued to where I’m okay with rereading parts of Gideon the Ninth in order to understand the sequel.

            Gideon the Ninth is an ambitious debut which hits enough marks to make for a good and fun reading experience. While I did not enjoy this book as much as other bookbloggers, the story and the world intrigued me enough to finish this book and wanting to read the sequel. Please understand that just because I didn’t enjoy this book doesn’t mean that you’ll feel the same way. That being said, if you want to read a story about necromancers and sword fighting, with gothic elements, then this book is for you.

My Rating: Read It (3.5 out of 5). 

Works Cited 

Abrams, M.H., and Geoffrey Galt Harpham. A Glossary of Literary Terms. 10th ed., Wadsworth, 

            2012. 

Why You Need to Read: “The Shadow Saint”

The Black Iron Legacy: Book 2: The Shadow Saint

By: Gareth Hanrahan

Published: January 7, 2020

Genre: Fantasy, Grimdark

            Ten months ago, at the height of what some call the Crisis and others the Gutter Miracle, a new city exploded into being within Guerdon, (Chapter 2).

            When you read a book that becomes one of your favorite books of all-time, you’re left with a sense of satisfaction. When you learn that book is part of a series, you become anxious. This is because you’re hoping the next book in the series is just as good as the current one while dreading the possibility that it’s not. Well, that’s not the case here! Gareth Hanrahan found a way to go beyond readers’ expectations and gifted us with The Shadow Saint, a strong sequel to The Gutter Prayer—his debut novel. The sequel takes place several months after the events in the first book, but a new conflict is the focus in this story.

            There are 3 new protagonists: Eladora Duttin, Carillon Thay’s cousin, who is struggling to strive and to survive in the New City; Terevant Erevesic, the second son of House Erevesic and (failed) Lieutenant of the Ninth Rifles; and, a spy, who goes by many aliases, whose latest assignment has him traveling into the New City. As the protagonists converge in the city formerly known as Guerdon, other characters are introduced in order to present the protagonists as complex and rounded with desires, regrets and failures, and a sense of responsibility. First, there is Effro Kelkin, the “Chair of the Emergency Committee and de Facto Ruler of Guerdon” and Eladora’s boss, whose biggest concern is the Parliament Election. Next, there is Olthic Erevesic, the Haith Ambassador and Terevant’s older brother, whose main concern is another election, one that puts him at odds with his wife, Lyssada. Last, there is Emlin, the “task” assigned to the spy and the chosen saint of the Fate Spider, a deity worshipped in both Severant and Ishmere. Not to mention, one or two relations to Eladora makes an appearance as well. While the protagonists might come off as “weaker” than the characters they interact with, it is the minor characters who present the protagonists as relatable, as they are forced to develop into themselves as a result of these interactions. 

            The plot in The Shadow Saint delves into the aftermath of a crisis. “The Gutter Miracle” has turned Guerdon into a hotspot for power-hungry politicians and religious leaders. For the politicians, two upcoming elections will determine both the dominance of one party and the directions Guerdon will go in. For the religious leaders, Guerdon is one of the last neutral territories in the Godswar. While some of these leaders try to form alliances with the politicians, others search the streets of Guerdon for a weapon that is rumored to have the power to destroy a god. The subplot focuses on the protagonists, who are victims of being used and abused by other people, including members of their families. All of these protagonists have been taken advantage of by others, but it’s how they manage to move on from those traumatic experiences—whether or not it’s through forgiveness, forgetfulness or vengeance—and deal with what’s happening in the present. This subplot is necessary for the plot because the protagonists find themselves thrust into the spotlight and they must decide whether or not they want to remain as “tools” for those who want to control them. The plot develops at an appropriate rate and it’s due to the subplot. 

            Once again, the narrative follows a chronological sequence of events which are told from multiple points-of-view. The flaws and the mistakes made by the protagonists and their ability to overcome them—and proving that it’s not as easy as it sounds—make them reliable narrators. The narrative explores the protagonists’ streams-of-consciousness—which include some flashback scenes—through 3rd person limited. This means that the P.O.V. character knows what’s happening where they are at that moment in the story, but the readers know everything that is occurring to everyone at the same time. Both the narrative and the emotions are easy to follow.

            The style Gareth Hanrahan uses is divided into world-building fantasy and political reality. Because Guerdon was saved, everyone is showing interest in it. Those people come from other places that have their own religion and reasons for gaining control of Guerdon. However, in order to understand why, world-building is required. The various cultures and religions as well as the events of the Godswar is presented through the world-building by the author. The politics struggling for power demonstrates the reality within the fantasy by using numerous events throughout human history as a source. The mood in the story is chaos. The city of Guerdon was saved, but that has led to more conflicts and even more conspiracies involving gods, saints, war, and elections. The tone here is resilience; which of the characters demonstrate it and why they do so. If the story wasn’t identical to current events, then this could almost be a satire. 

            The appeal for The Shadow Saint have been positive. Fans of The Gutter Prayer and/or grimdark will appreciate the direction the author decided to go for in the sequel. Readers who are curious, yet unsure whether or not to read the sequel should know that the difference is the characters and their P.O.V.s. This means that everything fans and readers enjoyed in the first book is in this one, too. The sequel is not only a great addition to the grimdark and fantasy canon, but also cements Gareth Hanrahan as an accomplished author. And, based on the ending and the revelations at the end of this book, readers will be eager to reader the 3rd book in the series, when it comes out. Please note: According to the author, there will be 4 books in this series.

            The Shadow Saint is a sequel which demonstrates the triumph accomplished by the author who delivers on the expectations of the fans, the readers and the critics. The shift from thieves to forgotten relatives proves that the characters are just as well-written as the story and its world. If you haven’t already done so, then start reading this series! You won’t regret it!

My Rating: MUST READ IT NOW (5 out of 5)!!!

TV Episode Review: “Deadly Class: The Clampdown”

 Note: There are some minor spoilers in this review. You have been warned. 

            While Kings Dominion investigates the death of another student, the students are placed under lockdown. The lockdown is effective to the point where several of the students are shoved into random dorm rooms instead of their own. This is interesting because viewers see more interaction between the students who are not friendly with one another. At the same time, the cliques from the Pilotepisode is brought back in order to reiterate the reasons why these kids became students at Kings Dominion in the first place. And yes, while some of the students believe Marcus is the center of the conflicts at the school, the teachers and the administration know that Marcus is being labeled as a scapegoat. This is how rumors spread. 

            Marcus gets interrogated by Master Lin and Maria gets interrogated by Master Gao. And, while it is obvious that Master Lin and Master Gao want the same thing—to diffuse a potential race/gang war within the school—their methods demonstrate how these siblings remain at odds with each other. Master Lin believes what he wants to believe, while Master Gao knows the truth, but cannot prove it. Master Lin is able to stop the adults from interfering with the school, but Master Gao believes in “an eye for an eye” philosophy. It makes you wonder what could happen when these siblings work together instead trying to outmaneuver each other.  

Confessions is the theme for The Clampdown. Maria confesses to killing both Chico and Yukio; Marcus confesses to knowing about it; and, Saya confesses that she sees Maria as a friend even with all of the tension breaking out between the Cartel and the Yakuza. And, while it seems that the conflict between the two gangs is over for now, Marcus’ confession to his friends about his past reminds everyone what is really at stake, the existence of Kings Dominion to the outside world. 

In all, The Clampdown presents which of the students are willing to do help themselves versus which students are willing to help each other. It becomes obvious that Marcus trusts his friends more than his roommate and that Maria and Saya trust each other more than their fellow members. Silly as it may sound, this friendship is what will bring about a very entertaining season finale. 

TV Episode Review: “Deadly Class: Saudade”

Note: There are some minor spoilers in this review. You have been warned. 

            This episode was taken straight from the graphic novel! Anyone who has read the series knows what to expect from this episode of the television adaptation, and readers will not be disappointed. Yes, there was one minor change from the graphic novel for the episode, but the change and the foreshadowing was well done in this episode. Once again, readers know what to expect before the viewers.

The visuals of this episode are what make it worth watching. The hallucinations Marcus has throughout the episode, the scenery of Las Vegas in the 1980s, and the fight scene at the end illustrate the efforts in the cinematography. I have not seen a drugged scene play out so well on television since BoJack Horseman. Marcus’ “trip” lasts throughout most of the episode, which means viewers get a mural from Marcus rather than a soliloquy.

            The main theme surrounding this episode was victims of abuse. While it’s obvious that Marcus and his friends all have baggage from their pasts, we learn of the affects on other victims of abuse, and why their pent up emotions could have devastating, yet understanding effects. Marcus’ drug trip puts him out of commission for most of the episode, so the focus is more on Billy and Maria. It was Billy’s idea to take a road trip to Las Vegas in order to kill his father. And, Maria is making her plans for disappearing from Chico—and his family—permanently. The literal demons attack Marcus, Billy and Maria leading to some heart-wrenching consequences for them and their classmates.

            Saudadereturns the story back to the graphic novels. Now that the fillers provided more insight into each of the main characters, the school, and Marcus, viewers and fans have a better understanding of what to expect for the rest of the season. And, as of right now, viewers have seen the murders committed by 3 students (on screen), the death of 2 students, and the journey of the single psychopath who is getting closer and closer to our protagonist.