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goneseriesanalysis · 3 years

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Drake Merwin

I am soo sorry, this is super late but I got incredibly distracted with reading and forgot that literally anything else existed. Drake was a really hard character for me to analyse because his characterisation was just so disappointing to me - but luckily my intrinsic desire to have everyone hear my opinions prevailed, and so here it is. I hope you enjoy!!

Spoiler Warning: Major spoilers for Gone, Minor spoilers for the rest of the series and the monster trilogy

Old Opinion: I had a sort of morbid obsession with Drake and thought he was a top-tier villain

New Opinion: So far Drake is tied with Astrid for most-changed opinion. His character has almost no-depth and could be placed in almost any story without changing a single thing about him - and it would make sense. I found myself desperately trying to make him more interesting than he is in an attempt to justify younger me’s obsession - but alas I was unsuccessful. He had a lot of potential, but instead he ended up as a copy-paste villain with no realistic motivations and no real intrigue.

1.) DRAKE’S APPEARANCE:

Drake is, I think, the character who is best (as in most thoroughly) described in the first book. Not only do we get an idea of his actual appearance beyond the vaguest possible descriptions (sorry to Sam, Caine, Diana and every minor character) but we also get some idea as to the effect his appearance has on other people.

In Chapter 14, when we are first introduced to the Coates kids, Drake is described as, “a smiling, playful, mean-eyed kid with shaggy, sandy-coloured hair.” I actually really like this description. Contrasting “smiling” and “playful” with “mean” really brilliantly sets Drake up to be a complex villain – the kind of villain we all love to hate, who cracks a joke while slitting your throat. It has the implication of a layered personality but sadly, this is not the villain we get. In fact his character in the first chapter compared to the character we get as the book continues is so drastically different that it almost seems like mg did a complete 180 on his character. An original description is supposed to give us some indication as to what a character is like – their personality and role in the story, and we know that mg can do this really well. (Sam’s non-descript description setting him up to be the underdog, Quinn’s mismatched attire hinting at his inability to fit in, Astrid’s colour scheme reflecting her innocence and religiosity), and so it seems particularly odd, not to mention disappointing, that Drake’s description gives us…nothing. No real indication as to who he is or his purpose other than to hint to him being an antagonist (which we already guessed from his affiliation with Caine.) I could go on and on about what a waste Drake’s character was, but I’ll save it for a later paragraph.

We will then skip ahead to Chapter 37 where both Howard and Lana describe a similarity between Drake and Pack Leader:

“The one time she had seen Drake Merwin. He had made her think of Pack Leader: strong, hyper alert, dangerous. Now, the lean physique looked gaunt, the shark’s grin was a tight grimace, his eyes were red-rimmed. His stare, once languidly menacing, was now intense, burning hot. He looked like someone who had been tortured beyond endurance.”

“The two of them, two of a kind, it seemed to Howard, stared holes into each other.”

This is a much better example of mg using descriptions to establish the purpose of a character. By drawing a comparison between these two, mg sets up Drake’s later role in the books, where he replaces Pack Leader as the gaiphage’s right-hand man. This almost leads me to believe that mg had decided very early on that Drake was going to desert Caine and this is possibly why he seems so out of place and underdeveloped as Caine’s underling in the first two books. Mg had already moved on from this side of his character…and it shows. Lana’s description of Drake also works as a basis for showing the reader how he has changed since losing his arm (before gaining his whip) and acts as an insight into his current mental state – which is important as we don’t get much introspection during Drake’s POV’s. But, I still have a few issues with this. First of all, his “lean physique”. Now this isn’t really a problem all by itself, but unless I have forgotten what 14 year olds looks like (which is a possibility though I doubt it) I don’t think that they should be muscly with minimal body fat. And Drake is not the only character he does this with. Quinn gets extremely muscly later on in the books (I’ll admit that there is a plausible reason behind this so this example isn’t terrible but it’s mentioned like every 5 sentences) and in Fear Caine is described as having wash-board abs. Why are we sexualising children?? Children should be pudgy and awkward and still growing into their bodies, not lean and muscly!! The attractive, damaged man who hates women for no reason at all is also a really really really common trope and tbh I’m just so bored of it. It’s not relatable (at least it shouldn’t be) and it’s just really unimaginative – although it does help us to understand Drake’s character as we’ve seen him before so many times in all types of media. My second issue with this description is the way it really really highlights how much of a waste of character Drake was. The potential of a high-school bully with a skewed world-view due to the death of his father and the later abuse of his mother at the hands of his replacement father figure trying hard to impress the charming “leader” with unimaginable power (that he so desperately wants) only to be undermined at every turn by a girl who teases him by pointing out his flaws and insecurities taking his anger out on everyone around him (especially women) as a way to cope with his childhood traumas then turning into a heartless monster who not only enjoys others pain but lives for it after being “tortured beyond endurance”, was astronomical. But we don’t get that. Instead we get a cheesy, one-dimensional cartoon villain. The change that his body and mind go through after his maiming should have been pivotal to his character, but that just doesn’t come across in the writing. :/ But more on this later.

And last but not least, the whip-hand, which is very important to Drake’s character. It turns his actual body into a weapon and his excitement over this is indicative of his sadistic nature. Again, I think this is an example of a wasted opportunity. I would have liked mg to have gone in to depth about how Drake’s body undergoing this change affected his psyche (and I’m not counting his one-off line in the monster trilogy). I think it could be argued that Drake’s “change” is a metaphor for him going through puberty. Him gaining the whip that ultimately turned him into his very own weapon shows his transition from a child [a little messed up but still just a kid] into a monster, someone who is capable of committing atrocities without a second thought. It would have been particularly interesting for Drake and Orc’s final battle to put some focus on the fact that they both suffer through monstrous physical changes that can be used to represent their shift from children to young adults but whereas one relishes in this, one is completely disgusted. The whip-hand is described as being an “impossible blood-red snake” and then that “It was stretched. Like it had been turned into dark, blood-red taffy. It wrapped twice around his body.” – Both of these occurring in Chapter 39. I don’t have much to comment about this – other than that I think red is great colour choice for Drake, thematically at least.

I know this point was mostly about what Drake could have been as opposed to an actual analysis of his appearance, but I’m just so tired of the attractive misogynistic villain that seems to appear in every single piece of media. His characterisation really bummed me out and put me into a slump so instead of analysing his appearance I decided to roast him instead. But, onto actual analysis now (I am going to further expand on some of the points I made here I promise).

2.) DRAKE’S PERSONALITY AND CHARACTER

I mentioned in the previous point that a lot of Drake’s characterisation seems like an afterthought at best and one of the things that made me think this, is the inconsistencies with his character and the most obvious example of this is the discrepancies with his birthday. In chapter 20, Diana says that his birthday is “April twelfth, just one minute after midnight.” But, in Chapter 33 we get the line “Sooner would be better,’ Drake drawled, ‘what with me having a month.” This is a really small nit-pick, I know, but it just really bugs me that mg overlooked something as simple as a birthday – especially when birthdays are such an important plot point in this book. But anyway, moving on. I promise this whole review isn’t going to be negative.

Backtracking now to Chapter 14. Drake’s character here seems to differ quite drastically from his later characterisation. He seems here to be an example of the laughably evil trope, he has a kind of dry sarcastic humour that is quite fun and seems to lighten the tone of the story a little bit. Rather than showing us the boringly disgusting misogynistic villain that Drake turns out to be, we instead see a funny, charismatic character who seems to prefer picking on those who already have power – as is seen here:

“Drake paused halfway, turned back, and spoke for the first time. In an amused voice he said, ‘Oh, um, Captain Orc? Have your people – the ones who aren’t injured- line up outside. We’ll work out your… um, duties.’ With a grin that was almost a snarl, Drake added a cheerful, ‘Later’.” – Chapter 33

Now I understand that the reason we don’t see the real Drake here is because Sam is obviously not yet aware of his true personality – my issue lies in the fact that based on just this small excerpt here, I expected so much more from his character. We get hints of his sadistic nature here, with him joking about Cookie’s horrific injury and clearly taking joy in exerting power over Orc, but it is evenly balanced by the fact that he’s kind of amusing and we don’t really like Orc at this point anyway. Can we see that something isn’t quite right with him?? Yes. But do we kind of like him anyway?? Well I did. At this point. I would have really loved it if mg had carried on this idea of Drake abusing those who already have power – him enjoying to take down bully after bully so he can be King bully, instead of him picking on people who he perceives as weak and vulnerable. Mg relying on misogyny as a motivator is just really disappointing to me because there is no depth to it, and it’s pretty lazy. He hates Diana because she is a woman and he sees women as beneath him?? Weak. Over-used. Dull. He hates Diana because she has power over Caine in a way that he never can, which makes him feel insecure in himself and the fragile sense of stability and power that he has struggled to cultivate within his damaged psyche?? Yes pls. Not only would this have made Drake a much more engaging character, but it would also have made his desertion of Caine in hunger much more impactful. And while I think there are aspects of this within his character, which I will go into later, I wish there had been more of it. Again, I’m sorry that this has become more of a “what could have been” rather than an analysis but there really is just so little to analyse without just pointing out obvious facts and statements. There’s no spice here :/

Moving on now to Chapter 16, where we as an audience, as well as the characters within the book, begin to realise what Drake truly is – an unhinged madman. We are told by Sam that Drake has been abusing his power as Sheriff – which particularly stands out as, so far at least, Drake is the only member of Coates who has shown this kind of behaviour (Caine is actually a pretty sound leader until he loses his shit and attacks Sam). And this is the first major distinction that we get between Caine and Drake and their capacity as villains in the story. Caine is a bad person who will do bad things to achieve his goals, he is power-hungry and ambitious but he is not needlessly violent. Everything he does he (in his own mind) is able to justify as it helps him to achieve his vision. Drake, on the other hand, doesn’t really seem to have an end goal. He is violent for the sake of being violent – he is a sadist who enjoys the suffering of other people as we see here, “Drake was more than a little scary. Kids who defied Drake or any of his so-called sheriff’s had been slapped, punched, pushed, knocked down or, in one case, dragged into a bathroom and given a swirlie. Fear of Drake was replacing fear of the unknown.” Now, we still don’t get to see the full extent of Drake’s madness here. Most of the crimes listed are pretty mundane bully things – they’re still wrong, but they aren’t life-threatening. He hasn’t bashed anyone’s head in with a baseball bat. While Caine is playing with politics, Drake seems unable to move past his role of high school bully. If he had played it right, the role of Sheriff would have been perfect for him. I mean, how many actual police officers get away with literal murder in the name of “upholding the law”?? But he is unable of seeing the bigger picture, unable to grow and fit the new world order as Caine does so naturally, and so, instead of properly taking on the role of Sheriff and building up his own authority in this way, he turns back to his tried and tested method – hurt them and they’ll fall in line.

I particularly enjoy this as I think it explains, a little bit more, why he hates Diana and Astrid so much. Now I know the bottom line is simply that he is a violent misogynist – but that doesn’t explain why he hates Diana and Astrid specifically. Is it because they’re both attractive women and he is unable to distinguish sex and violence in his head?? Partly yes, but then Taylor is also described as attractive (and most people find her annoying) and yet he doesn’t seem to hate her to this extent. I think the real reason he hates these two specifically, more than anyone else, is because he simply cannot understand them – and that scares him (although he is unwilling to admit it). Drake only knows how to gain power through violence – he sees this work at home, he used it on Holden, he used it to gain his reputation at Coates and, although he has the ability to gain authority in other ways, he continues to use this method even now in the FAYZ. Diana and Astrid cannot do this, they are not fit to fight, they are not able to use violence to assert their status – and yet they both have more power in the FAYZ than he does. They make him question his whole world view and, as he cannot or will not adapt to the new hierarchy of the FAYZ, he resorts to trying to destroy them, in order to return the world to what it was before. His hatred of others gaining power through (what he sees as) unconventional means is then further established with his dislike of actual powers and the people who have them:

“I’m sick of all this powers crap. You saw what we did to freaks at Coates?? Who do you think it was that took care of that?? All these kids with their stupid so-called powers. Starting fires and moving stuff around and reading your mind and all?? Who do you think it was grabbed them one by one in their sleep and beat them down and when they woke up their hands were setting in a block of cement??

[…]

That’s right. And I didn’t even have a gun then. It’s not about who’s got powers, morons. It’s about who’s not afraid. And who’s going to do what has to be done.”

We get told by Diana that it was Drake’s idea to cement the kids in the first place (and a bad one at that) and I really think that is all the evidence you need to see that Drake’s hatred and fear all stem from his complete inability to adapt. He is trapped in a cycle of abuse that started with his father, a police officer who teaches him how to shoot people (however unwillingly) and is then continued by his step-father (an actual abuser) rendering him incapable of recognising any kind of authority if it is not gained from violent means. And so of course he hates the powers – none of the kids gained their powers through suffering or through causing suffering. They didn’t earn their authority in any valid way, according to him. (This is also another reason why I think Drake was so ecstatic at gaining his whip-hand. He suffered for it and therefore, in his twisted mind, he earned it. It is physical proof of his supposed power over these kids.) It’s tragic really – but mg then goes on to make him so disgustingly unsympathetic that his story loses its meaning. I love mg’s writing but Drake’s character truly was butchered for shock value and plot convenience and it makes me so sad.

Ok back to Chapter 16. Here, not only do we hear about some of the things that Drake is capable of, but we see them as well. His beat-down of Orc is the first indicator we get that Drake is someone we should really be afraid of. Heads up, this is a long quote:

“Nobody move,’ Drake said. Orc pushed Edilio off and jumped to his feet. He started kicking Edilio, landing size-eleven Nike blows into Edilio’s defensive arms. Sam jumped in to help his friend, but Drake was quicker. He stepped behind Orc, grabbed him by the hair, yanked his head back, and smashed his elbow into Orc’s face. Blood poured from Orc’s nose, and he howled in rage. Drake hit him again and released Orc to fall to the concrete. ‘Which part of “nobody move” did you not understand, Orc?’ Drake demanded. Orc rose to his knees and went for Drake like a linebacker, Drake stepped aside, nimble as a matador. He stuck his hand out and said to Chaz, ‘Give me that.’ Chaz handed him the bat. Drake hit Orc in the ribs with a short, sharp forwards thrust of the bat. Then again in the kidneys and again in the side of the head. Each blow was measured, accurate, effective. Orc rolled over on to his back, helpless, exposed. Drake pushed the thick end of the bat against Orc’s throat. ‘Dude. You really need to learn to listen when I talk.’ Then Drake laughed, stepped back, twirled the bat in the air, caught it and rested it on his shoulder. He grinned at Sam.”

“Sam had gone up against bullies before. But he’d never seen anything like Drake Merwin. Orc outweighed Drake by at least fifty pounds, but Drake had handled him like a little toy action figure.”

Orc has already been established as the top bully in Perdido beach – we’ve already seen that our main character is afraid of him – and for good reason. And so for Orc to be defeated so casually and so easily is shocking. It lets us know that the old world order has collapsed and old fears are fading away with it, with new, much more threatening adversaries taking their place. I actually think that this scene was exceptionally clever of mg. Drake is attacking someone who has already been set up as an antagonist, at the same time rescuing Edilio, who the reader has been conditioned to like. But, through context clues, we know that this is not a good thing. It sets up the villainous nature of the Coates kids, Orc’s redemption, Drake and Orc’s rivalry and Sam’s fear of Drake. And it feels natural, even after re-reading the book multiple times. It’s scenes like these that really remind me how great of a writer mg is.

Another thing I really wanted to talk about here IS Drake and Orc’s rivalry because, yet again, I think mg missed a huge opportunity with this. Drake and Orc are very similar before, and in the early days of the FAYZ. Both have abusive fathers (a step-father in Drake’s case but still), both enjoy asserting their power over people through violent means and both are put in positions of power that they are unable to fully take advantage of – Sheriff and Sheriff Deputy. And even as the books continue, similarities can still be found. They both suffer mutations that turn their bodies into grotesque weapons, dehumanising them and alienating them from their peers and That Scene in Plague tells us that Orc and Drake sometimes have similar “desires”. Their stories are constantly intertwined, with them being played off of each other from the start and Orc becoming Drake’s jailor later on (and in turn Drake sort of becoming his). Their differences come from their reactions to the horrific acts of violence they have committed – and of course why they do them. I’m going to make a whole separate post on this because it’s long enough to be a standalone, but my I just wish mg had played up both their similarities and differences more. It would have made Drake so much more interesting.

We also get more hints at his sadism in this scene. He is later unbothered that Betty has been hurt and it seems that the only reason he attacked Orc was because it gave him an opportunity to assert his dominance over him. All in all, this is one of my personal favourite scenes in the book as it establishes characters, themes and relationships very well. I just wish some of these had been developed further – but mg dropping certain aspects of the story does seem to be a common problem.

The final thing I wanted to talk about in regards to Drake’s personality and character is this line we get in Chapter 23, “It was small, just two bedrooms, very neat, very organised, the way Drake liked things.” This was another thing that irked me slightly. It’s such a small aspect of his characterisation but it reinforced the idea that drake is just another cookie-cutter villain with no real personality, nothing that makes him stand out in the sea of white male psychopaths with a hatred for women. His whole character could be replaced with any other misogynistic psychopath at no detriment to the story. My immediate though when reading this was that even the smallest aspects of his character can be seen in other, more developed villains – this line in particular is hugely reminiscent of Patrick Bateman. Nothing seems to be his own. No aspect of his character is even remotely unique. (I think this may also be why some young fans develop an obsession with him. His character is comfortable because we’ve seen it so many times before.) He is so entirely replaceable and replicable - only reason he isn’t completely forgettable is because you are constantly plagued by the horrific things he has done. Mg sacrificed depth and development for shock value and it’s so disappointing

3.) DRAKE’S PAST

Onto Drake’s life before the FAYZ. Not only does Drake receive some of the longest and most POV time in this book, he is also the character whose life before the FAYZ we learn the most about (with the possible exception of Sam). This is especially shocking to think about seen as Drake is arguably one of the most underdeveloped characters in the whole book, but anyway. There are two scenes I’m going to talk about here, both occurring in Chapter 23, with the first being his dad teaching him how to shoot. I apologise in advance for the long quote:

“His father had taught him how to shoot, using his service pistol. Drake still remembered the first time.

[…]

He remembered the way his father had taught him to grip the butt firmly but not too tight. To rest his right hand in the palm of his left and sight carefully, to turn his body sideways to present a smaller target if someone was shooting back. His father had had to yell because they were both wearing ear protection. ‘If you’re target shooting, you centre the front sight in the notch of the rear sights. Raise it till your sights are sitting right under your target. Let your breath out slowly and squeeze.’ That first bang, the recoil, the way the gun jumped six inches, the smell of the powder – it was all as clear in Drake’s mind as any memory he had. […]

‘What if I’m not shooting if I’m not shooting at a target?’ He’d asked his father. ‘What if I’m shooting at a person?’ ‘Don’t shoot a person,’ his father had said. But then he relented, relieved no doubt to find something he could share with his disturbing son. ‘Different people will tell you different techniques. But if it’s me, say I’m doing a traffic stop and I think I see he citizen reaching for a weapon, and I’m thinking I may have to take a quick shot? I just point. Point like the barrel is a sixth finger. You point and if you have to fire, you shoot half the clip, bang, bang, bang, bang.’ ‘Why do you shoot so many times?’ ‘Because if you have to shoot, you shoot to kill. Situation like that, you’re not aiming carefully for his head or his heart, you’re pointing at the centre of mass and you’re hoping you get a lucky shot., but if you don’t, if all you’re hitting is shoulder or belly, the sheer velocity of the rounds will knock him down.”

Ok so the first thing I want to analyse here, is how important this memory clearly is to Drake. He remembers it fondly, in immense detail and seems to call back on it when he needs to clear his head (notice how this memory is placed while Drake is trying to figure out what to do, not while he is doing it.) It seems that rather than just using this memory as a source of useful information, it is also a source of comfort to him. Now there are some things that I really wish mg had told us that would help to analyse this scene better, like: How old was Drake when this memory took place?? How old was Drake when his father died?? How did his father die?? But alas, we don’t know these things (at least not that I’m aware of, and not within this book) so I’m going to try and do the best I can with the information that we have. Now, in Light, Drake makes it seem like his step-fathers behaviour has been significant in forming his worldview – which makes sense, trauma does that. But he spends half of his time away at Coates, which says to me that for this behaviour to have had such a profound effect on him, his step-father must have been around for a while. Right?? I’m gonna take a guess at 3-4 years at the least. Give Drake’s mother about a year to meet and start dating this man after the passing of her husband – this means that Drake would have been around 9/10 at the latest when this scene took place. That’s pretty young. Like, this is a formative memory and from the way it’s written, it seems like this may be some of the only bonding that Drake and his father ever did together. No wonder Drake has such an unhealthy obsession with guns as is seen with these quotes:

“He started from Astrid’s house, which was already beginning to smoke. He worked his way methodically, a hunter, looking for any movement. Each time he spotted someone walking or running or biking, he would take a look at them through the rifle scope, line them up in the crosshairs. He felt like God. All he had to do was squeeze the trigger.” – Chapter 23

“Drake kept all three guns loaded all the time. They were set out on the dining room table, a display, something to be gazed at lovingly.” – Chapter 23

“Drake could not leave the gun alone. He kept thumbing the safety on and off. He rolled down the window and aimed it at stop signs as they passed, but did not fire.” – Chapter 31

Drake shooting Sam and his gleeful reaction – Chapter 34

For him, guns are the ultimate symbol of power and authority. He was introduced to these weapons of incredible power at such a young age – of course he loves them. That being said, it seems that Drake has always been “disturbed” so I suppose we can’t fully blame his father and step-father for his mind-set – and I have to say I don’t really like this. Drake’s issue as a character is that he is completely de-humanised by all the horrific things he does. By having it seem like Drake was irredeemable from the off-set, it just adds to this idea and again removes any possible depth or character development. Imo it would have been much better to present Drake as becoming the way he is AFTER his father’s death. It would bring a sense of tragedy to his character – the way he uses his father’s advice to hunt down Astrid would seem less like a by-product of his sadism and more like a misguided attempt to feel connected to his deceased father.

However, flawed though it is, this scene does give us some insight as to why Drake is the way he is – through the characterisation of his father. Admittedly we don’t get much, but one line really stood out to me, “Because if you have to shoot, you shoot to kill.” Ummm..sir?? I don’t think that’s how police officers work. Isn’t your goal to incapacitate – not to just kill on sight?? The fact that he not only stands by this rule himself, but also gives this advice to his CHILD is disconcerting. Drake is not only receiving this harmful rhetoric from his father figure but also a police officer. Someone who is meant to uphold the law. I think this links back to my earlier point on how Drake only recognises authority if it is gained by violent means. While we get no indication that his real father was ever violent to Drake or his mother, he openly tells Drake that when he is upholding the law (in this hypothetical situation) he does it by using force. That is a dangerous thing to tell a child, especially a child who you already think is disturbed. This twisted-take on a father-son relationship nicely sets the precedent for Drake’s warped perceptions, I just wish it had been developed further. And this leads us nicely into the next scene – the shooting of Holden:

“He remembered with vivid, slow-motion detail the time he had shot Holden, the neighbour’s kid who liked to come over and annoy him. That had been a bullet to the thigh, with a low-level calibre gun, and still the kid had nearly died. That ‘accident’ had landed Drake at Coates.”

Again, first and foremost I just wish we had a little bit more information. It is not clear whether this situation occurred before or after his father’s death – which seems like a pretty important detail to me. Although, we don’t actually find out that Drake’s father is dead within this book, and this omission again makes me feel like mg adding that detail was little more than an after-thought. It feels like in Light he wanted to quickly try and make Drake more of a sympathetic character and so he added in an abusive step-dad to try and tone down or at least explain Drake’s violence and misogyny. It seems like Drake is a plot-point first and a character second and the lack of detail here really highlights that for me. What purpose did these scenes really have in the story?? They did very little to flesh out his character, they introduced no new themes or relationships. It seems like mg just wanted to let us know – “Hey! Drake knows how to use a gun. That’s gonna be important later.” That being said, there are a couple of other things I would like to quickly mention. Firstly, I think the fact that Drake did not aim to kill Holden, even though he could have, is meant to be indicative of his change between then and now. It’s done to tell us that Drake wasn’t always this bad – there was at one point some hope. For this to have the desired effect though, I really think mg should have waited until after Drake lost his arm to straight up try and murder Astrid and Little Pete. Like, you can’t tell us that Drake was a little messed up but still redeemable before his maiming and then go and have him try to kill a random girl and her five year old brother. Because that’s more than a little messed up (and that’s not even mentioning the cementing). And it also contrasts the idea that Drake has always been disturbed. An idea that was introduced to us not even a page ago!! The other thing I wanted to pick up on, which I actually quite liked, is the ambiguous “who liked to come over and annoy him.” Because this is Drake’s point of view – so “annoy” could mean anything. Was Holden actually just an annoying kid?? Was he just trying to be Drake’s friend?? Or was he actually a bully and Drake doesn’t want to admit it?? I guess we’ll never know.

4.) DRAK’ES MOTIVATIONS

For this point, I wanted to focus on three particular motivators: Caine, Diana and Astrid. These are the three people, I believe, who provide, either consciously or unconsciously, the motivation for his actions within the FAYZ. I’ll start first with Astrid and Diana, the two people who Drake hates the most. Throughout this book it is clear that Drake has no real goals – he has no desire to be in control like Caine, no desire to re-invent the world like Albert. All he wants is to cause pain, with his preferred targets being these two. And, as I’ve said before, I think this is partly because he hates the authority that they have within the FAYZ – which stems from manipulation and intelligence rather than violence.

In Chapter 20, Drake explains his hatred for Diana, “Drake had made the time to check out Diana’s psych file the day after the FAYZ came. But her file had been missing by then. In its place she had left Drake’s file lying open on the doc’s desk and drawn a little smiley face beside the word ‘sadist’. Drake had already hated her. But after that, hating Diana had become a full-time occupation.” What I take from this scene, is that Drake’s loathing stems from Diana’s ability to get under his skin, to make him feel inferior – to annoy him. (Perhaps Holden had a similar talent). I’m going to assume that his prior hatred of her can be boiled down to his misogyny and his disgust at Caine’s weakness for her, both of which have been explicitly stated in the text. His hatred after this though, comes from a pretty mundane incident. I mean all she did was get there quicker, and do exactly what he was going to do to her. And so I think this loathing is less about what she did and more about his own personal reaction to it. Diana was able to weaponise Drake’s own anger against him – to make him feel inferior and powerless. She challenges Drake’s fragile perception of authority and takes a diagnosis that he seems to not only be ok with, but is actually proud of, and makes him feel embarrassed. His whole perception of power is rooted in the idea that his ability to inflict pain on others with no guilt or remorse is what makes him better, it is what gives him his power. But she takes this idea and belittles him for it and so his initial reaction is to attack. This is an idea that is again seen with Astrid. Astrid intentionally tries to make Drake feel inferior by bringing up his biggest insecurity, Diana’s treatment of him “Doesn’t it bother you that Diana treats you like some wild animal she keeps on a leash?” And she does escape him – twice. Her and her autistic brother (and we already know how Drake feels about autistic people). She also proves herself to be more intelligent than him, in their little argument over the r-slur. Drake only gets violent after he realises that, in an intellectual sense, she has more power than him. It seems to be his defence mechanism just as much as his pleasure – and therefore Astrid and Diana’s power over him motivates him to use it.

Now onto Caine. Caine and Drake’s relationship is, for me, one of the most interesting aspects of Drake’s character and while I’ll only be mentioning it in its capacity as a motivator here, I have a whole post planed out for it. Drake seems to simultaneously hate Caine and admire him. He is constantly looking to impress him and the only time we ever see Drake think about betraying him in this book is when Caine gives his attention to Diana rather than Drake. And, because of this, I can kind of understand why people ship them (although I personally dislike the idea of Drake being gay). A lot of the time this motivation is completely unprompted by Caine himself, like in these quotes:

“Drake cursed and, again, for just a moment, felt the almost desperate fear of failing Caine. He wasn’t worried about what Caine would do to him – after all, Caine needed him – but he knew if he failed to carry out Caine’s orders, Diana would laugh.” – Chapter 23

“I got him’ Drake announced. ‘I got them all.’ ‘Yes, you did,’ Caine said. ‘Good work, Drake.” – Chapter 34

In Chapter 23, it seems that both Drake’s need to impress Caine and his need to prove to himself that he is better than Diana are his main motivators for his extreme attack on Astrid. I think it’s important to note that he only planned on trying to catch her, until Caine told him to kill her. His sadistic nature is brought out in full because he needs to prove himself to Caine. But why does he?? If he is planning on taking over from Caine in the end, why does he have a “desperate fear of failing Caine”?? Sure, part of it is his desire to prove himself to be better than Diana. But even this has roots in his absolute need for Caine to take notice of him. Drake is drawn to Caine because of his power and authority over people. Caine seems to be the closest thing that Drake can get to an equal, someone who shares the same motivations, ambitions and worldview (of course Caine and Drake do not share these things, but Drake doesn’t realise this…yet.) He seeks validation from Caine because he wants to have these things in common with someone – yet another motivation for his hatred of Diana as she constantly gets in the way of this.

We also know that Caine is, at least, partly aware of his effect on Drake. He is paranoid that Drake will turn on him (because Caine sees being equal to someone as relinquishing power) and he is able to manipulate Drake’s misguided feelings when he wants to – most notably in Chapter 36:

“It’s not Diana or Chunk or even me,’ Caine said. ‘It’s none of us, Drake. It’s Sam. It’s Sam who did this to you, Drake. You want him to get away with it? Or do you want to live long enough to make him suffer?”

This is such a clever moments as it sets up Drake’s whole character in Hunger, and it’s false. Because yes, Sam is the one who burned Drake’s arm and Drake has every right and reason to hate him. But it was Caine who abandoned him to save himself. And it was Caine who refused to let Drake die, even though he was begging for it (and let’s face it, he didn’t refuse to kill him out of any affection – it was a selfish decision.) But Drake is so desperate for that equal, for that validation that his worldview is correct and is shared by another person, that he just idk forgets?? He never brings up this conversation again and just accepts Caine’s word as gospel. I have so much more to say about their relationship but, as I said, I’ll save it for a later post.

5.) DRAKE’S MENTAL STATE

And finally, we have Drake’s mental state. Now I’m not going to try and give him an official diagnosis or anything, but I wanted to make a small point specifically about his mental state after his maiming. I think we can all agree that what Drake went through was pretty horrific, and while I personally struggle to feel any amount of sympathy for him due his own list of horrific crimes, the change he goes through after this is extremely significant, or at least it’s supposed to be. I think mg wants us to believe that Drake’s descent into madness was directly cause by the loss of his arm, and that before that he did have the chance to be redeemed. I think whether you buy into this depends on how forgiving you are, but I want to focus more on the actual proof of change that we see.

I’ve already talked about the physical changes he goes through, and the implications of this so I’m going to focus solely on his mental state during and partly after the whole ordeal. I think the first and most important thing to talk about is the fact that Drake didn’t actually want to survive:

“Don’t cut off my arm,’ Drake cried. ‘Let me die. Just let me die. Shoot me.” – Chapter 36

He would rather die than lose his arm (his gun arm to be specific). Now, while I don’t doubt that the burning was indescribably painful, I’m still not sure that the majority of people would beg for death. Especially when an alternative (in this case losing his arm) is presented. Not to mention, he doesn’t actually talk about the pain when begging for his death – what he talks about is the loss of his arm. Of course it could be argued that the reason he didn’t want his arm to be cut off is because he knew it would mean more pain, but I don’t think that this is the case. Rather, I think that Drake is so scared of losing the power that he has, that he would genuinely rather die. This 14 year old boy is so messed up that his own death is preferable to the idea of no longer being able to hurt people. And so when he gets his power back, he doubles down. He has realised by this point what he truly wants, that he would rather die than be rendered powerless, so he begins committing more heinous acts (like attacking the prees). Pair this with the amount of pain that he went through, which most definitely will have had an effect on his already damaged brain, and you can see how a high-school bully became what he did. The groundwork for an interesting and though-provoking character was right here. I think yet again the problem with his character is the execution. Interesting aspects of his personality are dropped in favour of plot convenience and shock value and it cheapens his character as a whole until all the intended nuances are lost and over-shadowed.

I’m really sorry if this is a bit all over the place and not quite as polished as my other posts. I found Drake so difficult to write about and so my thoughts kept going haywire. Thank you so much for reading (and being patient with my brain). I hope you enjoy!!

#the gone series #Drake Merwin #character analysis #gone

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adamwatchesmovies · 5 years

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The Worst of 2018

Before we dig into my Worst of 2018 list, let’s make something clear. Making movies is hard. I may be criticizing people’s efforts but am fully aware that they’ve all accomplished far more than I have by making an actual movie. Even the worst film on this list is still a fully-functional production that someone somewhere might enjoy... theoretically at least. If you were somehow involved in anything made on this list, I know you can do better. With that said, I sat through all of these, some multiple times and suffered so it’s time for me to get my revenge. How many were on the list I made halfway through the year, and how many new entries have we got?

10. 2.0

I typically reserve my #10 spot for a movie so bad it’s good and 2.0 is just that. Part techno-horror, part supernatural thriller, part superhero adventure, part sci-fi action movie, it goes in all sorts of outrageous directions. This one’s a gem, a picture I’d like to bring home and show to my friends on our weekly movie nights to hear their screeches of disbelief. I had a blast with it but legitimately good? Nah.

9. Show Dogs

I have some affection for this film as well. It’s awful, even as low-grade children’s entertainment. The plot has no idea what it’s doing and can’t figure out its own rules. The special effects are dodgy, premise idiotic, and jokes bad. And yet, I treasure seeing it in theatres. Soon after its release, a specific scene stirred uproar within parents and critics alike. This prompted the studio to re-edit the film. The scene in question concerns Ludacris’ character, talking police dog Max getting ready for the dog show he needs to infiltrate in order to discover who has kidnapped a baby panda. His partner, FBI agent Frank Nicholas (Will Arnett) explains that part of the competition involves the dogs getting their genitals inspected by the judges. In real-life, it’s to ensure the animals are capable of breeding. Finding the idea of someone fondling his junk without his consent intolerable, Max is told to escape the situation by going to his “zen place”. I didn’t take offense to it but understand why others would. I doubt the scene is available in the home release’s deleted scenes menu so I count myself among the few who saw the original cut.

8. Selfie from Hell, Slenderman & Truth or Dare

I’m lumping these three together because they all suffer from the same problem. They were doomed from the start. “What if a game of Truth or Dare�� was fatal?” What if you could only take 13 selfies before a supernatural entity came after you?”, “What if severe head trauma caused H.P. Lovecraft’s intelligence to plunge and he set “The Call of Cthulhu” in the 21st century?” seemed to have been the opening pitches for these would-be spookfests. None featured any scares or compelling characters. I doubt anyone will remember any of these by the time 2019 ends.

7. Robin Hood

Many of 2018's films ended by assuring us that more was yet to come. Robin Hood should've saved itself the embarrassment of being yet another aspiring franchise which failed to take off and been self-contained. It failed because it tried to be a superhero film when it should’ve simply been a movie about Robin Hood. This story by Ben Chandler steals so many ideas from Batman you almost forget to criticize the costumes, the impossible action sequences, and Jamie Foxx’s bad performance. It’s dripping with “tries too hard”.

6. Life of the Party

Boy does Melissa McCarthy need a new Agent. Her and Tiffany Haddish actually. Life of the Party is all-around lazy. It hardly has a plot. Instead, it throws one scene after another, praying something will stick. This film about a newly-divorced mother who goes back to college to reconnect with her daughter can’t even get its characters right. In some scenes, McCarthy’s Deanna is mousey and unable to give a speech to the class. In others, she’s such a partier she ends up wrecking everything for everyone around her. I hated the film’s conclusion worst of all, a deus-ex-machina of an ending which has nothing to do with anything and feels like it was hastily shot when director Ben Falcone and co-writer/spouse McCarthy realized the film they made wasn’t amounting to anything.

5. Fifty Shades Freed

Fifty Shades Darker was terrible. It began by immediately undoing the ending of the previous film but at least it was building up to something while introducing us its equivalent of the Legion of Doom, a trio of villains all of which would converge and attempt to ruin the relationship between Anastasia Steele, and Christian Grey… or not. This third and final chapter struggles to find something to do for the first three quarters and then suddenly introduces a thriller element before rapidly concluding it and showing us the end credits. The unrated version released on home video filled in a couple of holes (such as Kim Basinger’s disappearing character) but those holes shouldn’t have been there in the first place. Between the un-erotic sex scenes, we’re treated to lame melodrama and further proof this trilogy is completely oblivious to matters of love and relationship. Even if it had been well acted and gave fans some satisfaction by adequately tackling some of the bigger questions the series posed, it would’ve still been bad.

4. Venom

I didn’t want to listen to people who proclaimed Venom would never work. The character has appeared in solo adventures before. There’s nothing to say a talented writer couldn’t make one of Spider-Man’s most well-known archenemies work on his own. Or maybe not. This is an appallingly written film full of plot holes, vaguely defined powers, bad humor, and illogical actions. In many ways, it reminds you of films like Ghost Rider and Catwoman. In a way, it’s worse than either because everyone involved should’ve known better. Making its flaws doubly apparent is the film Upgrade, released earlier during the year. It essentially did what this film wanted to but better, funnier and more inventively. It’s extra funny that Upgrade features Logan Marshall-Green, who looks a lot like Tom Hardy, making the pair a perfect double feature if you like to compare bad movies with good ones and discuss them with friends.

3. A Wrinkle in Time and The Nutcracker and the Four Realms

These Disney films, the first directed by Ava DuVernay and the second by a combined effort by Lasse Hallström and Joe Johnston, wanted to be empowering female-led fantasy adventures. A Wrinkle in Time is historic in that it’s the first $100 million+ film directed by a woman of color. This makes it extra disappointing because it’s awful. Both tales are filled with developments who inspire you to say “but I don’t care”. Overrelying on visual razzle-dazzle, neither of these had any substance whatsoever. I blame the writers, who took the original stories and tried to make them into something they weren’t. Much of AWiT could’ve worked if the story had kept some of its novels' Christian themes. Then the evil black cloud who does evil for evil’s sake would’ve simply been Satan and wouldn't have seemed nearly as lazy and underwhelming. By attempting to force The Nutcracker and the Mouse King into the same mould as Tim Burton’s Alice in Wonderland (another bad film), you robbed the ballet of any potential charm. In many ways, these are worse than most of the others on my list because you keep hoping something would turn around and because they’re not obviously bad, at least not at first. They fill you with false hope.

2. Life Itself

I should’ve known this Dan Fogelman creation was trouble from the advertisements, which built it up as this epic tale containing all of the universes’ deepest truths. I sat there aghast as one corny development followed another. This tries to be poetry in motion, this grandiose tale about the bonds which connect us and not one second works. It’s utterly ridiculous, so bad it might be funny except you’ll be bored by its nearly 2-hour running time.

The Runner ups:

Nobody’s Fool & Night School

Both featured Tiffany Haddish who is rapidly burning through any goodwill she might’ve earned with her breakout role in Girls Trip.

Holmes & Watson

Bad movie but it made me laugh more than the other films on this list

Book Club

A film I’m kicking myself for not being harder on when I first reviewed it but take comfort in the fact it seems to have dropped off the earth completely.

1. The 15:17 to Paris

Agonizingly dull, The 15:17 to Paris was well-intentioned. That doesn’t translate to “entertaining”. Most of this film’s 94 minutes are spent watching the real life Spencer Stone, Anthony Sadler and Alek Skarlatos vacationing through Europe, periodically flashing back to the time when they met and were the real-life non-actors were played by equally bad child performers. I hated this flat slab of propaganda masquerading as entertainment so much after it was over I had to turn to the other people around me and ask them what we just saw.

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ratmonologue · 7 years

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you knew it was coming aLL OF THEM

*darth vader voice* NOOOOOOOOO

1. Favorite action film? Does Raiders of the Lost Ark count as action? If so that2. What movie(s) could you watch over and over and not get tired of? JURASSIC PARK I’ve watched it about a trillion times by now and the soundtrack’s been stuck in my head for like a month straight and even now I’m kinda like “hey I should watch it YET AGAIN”3. Any old school favorites (pre-70s)? I don’t even remember how many pre-70s movies I’ve seen I’m so sorry Belle I know I’m a disappointment to you4. Top 5 directors? Idek if I can name five directors lmao5. Favorite dead actor/actress? Alan Rickman was pretty great

6. Favorite movie from the 90’s? JURASSIC PARK (apologies in advance for how many times I’m going to answer that)7. Ever been/are you such a hardcore fan of an actor actress you watched/will watch any movie they were/will be in? I tried with Harrison Ford a few years back. Watched a handful of movies but didn’t even come close to all of his. I watched a bunch of things solely because Richard Armitage was in them. And as soon I find Diego Luna’s spanish movies with subtitles I’m watching those8. What movie are you looking forward to coming out the most? THE LAST JEDI9. Pixar or Dreamworks? I like both but am not a diehard fan of either?10. Favorite animated movie? Disney’s Atlantis11. Favorite musical? …I’m gonna be controversial here and say the 2004 Phantom of the Opera movie because it was my introduction to the wonderful world of musicals in general so... Ooh or does Dr. Horrible count?12. Are you against book-to-movie adaptations? In theory I’m all for them. It’s just that in practice they’re rarely good.13. Your guilty pleasure movie(s)? The Outsiders. It’s not very good (like, at all) but everyone’s just so pretty (and now younger than me… yikes)14. Robin Williams or Eddie Murphy? Robin Williams15. Favorite chick flick? Legally Blonde and/or She’s The Man. I don’t really watch chick flicks so those are the only ones I can really think of16. Ever watched a movie just because you heard the effects were awesome? No17. Favorite indie film? I don’t even know honestly18. Favorite movie heroine? Princess Leia, Marion Ravenwood, probably others that I can’t think of rn19. Favorite movie action hero? Indiana Jones obviously20. Ever read a book so you could understand the movie? Not to understand the movie, no, but I’ve read books after seeing the movie because I enjoyed it and wanted to know more, because movies always leave things out.21. Favorite kids movie? Atlantis, Mulan, why is my brain malfunctioning there are many more…. OH and I loved the first two Ice Age movies22. Favorite Disney movie? see previous question23. Favorite movie soundtrack? JURASSIC PARK. Also the Lord of the Rings trilogy24. Movie that makes you cry every time? Serenity, Rogue One, and LotR: Return of the King25. VHS, DVD, or Blu-ray? We only have a DVD player out of those so26. Best experience going to the movies? I have two. One was when my friend Nicole and I went to the opening night of the first Hobbit movie, and while the movie itself was… kind of a disappointment, to put it mildly, we had a great time poking sleep-deprived fun at it and attempting to sing Thorin’s ridiculous bass notes (I was sick so I could actually kind of do it). The other was Rogue One; I was… not in the best emotional state going into that, or coming out of it for that matter (can I really call it a “best” experience if I sobbed my way through the last 40 minutes? discuss) but at the same time you know how when a movie or character comes along at the exact right moment in your life? Yeah. That.27. Top 5 actors? Currently Harrison Ford, Richard Armitage, Diego Luna, Nathan Fillion, Hugh Laurie28. Top 5 actresses? (It’s a testament to the fact that most movies are very gender-imbalanced that I’m having a much harder time thinking of actresses than actors) Daisy Ridley, Catherine Tate, Carrie Fisher, Lauren Lopez, Kate Winslet?29. Movie you completely regret seeing? Trainspotting was… strange. And very very TMI. There was also this German movie about a restaurant owner’s misadventures that was just no get this away from me this is cringey and gross and also just utter nonsense. I think I liveblogged it on the OT actually. I had to keep pausing and watching it in small chunks because I just couldn’t handle the terribleness all at once.30. Movie you wish was never made? That German movie. Most sequels and remakes (none of the German movie exist though, thank god).31. Movie your parent showed you? My mom showed us The Great Race, a 60s comedy about an automobile race (I’m imagining that in Tony Curtis’s voice, heh) around the world, and it’s wacko and completely amazing. On the other side of the coin, my dad let me watch Bladerunner when I was way too young for it…32. Last movie you watched? Probably Rogue One33. An overrated movie? Groundhog Day. It was so stupid34. An underrated movie? Atlantis. It’s one of the least-well-known Disney movies, which is crazy because it’s completely amazing35. Favorite comedy movie? SPACEBALLS36. Movie quote you live by? Now I’m just thinking of Spaceballs quotes. None of those are particularly good life advice…37. Movie quote that will always make you laugh? The “everything that happens now, is happening now” “go back to then!” “when? now?” “now!” “I can’t” “why” “we missed it” “when” “just now.” “……when will then be now?” “SOON.” exchange from Spaceballs is PURE GOLD38. Film(s) you’ve watched on a date? Jurassic World. The movie sucked, but the date was fun. There was also one about a recovering heroin addict and his pet cat, which I should have taken as a sign that the dude I was with was not a good match for me. There were also plenty of movie/tv-show ‘dates’ outside of movie theaters.39. Favorite cult film? I don’t think it’s well-known enough to count as a cult film as such but it was on Mystery Science Theater 3000, so…. Teenagers From Outer Space, made in the fifties on an approximately $20 budget with no actual teenage actors. It’s…. it’s an experience in so-bad-it’s-good-ness. Cannot recommend highly enough.40. Directors you’d like to see work together? I don’t pay attention to these things I’m sorry I don’t know41. Actors you’d like to see work together? Everyone from the BBC already has worked together42. Films you wanted to watch, but never got around to watching? Pretty much any so-called classic film you can think of43. Favorite teen movie? It was more elementary school than teen, but The Lizzie McGuire Movie was pretty iconic. (Also I’ve seen a grand total of, like, three “teen movies” so)44. Top 5 favorite films? Raiders of the Lost Ark, Jurassic Park, LotR: Return of the King, can I count the entire Star Wars series as one, and Spaceballs. Such a wide repertoire I know45. Favorite superhero film? Uh….. Thor? Maybe….? That’s solely because of Hemsworth’s and Hiddleston’s faces though. Maybe Guardians of the Galaxy?46. Favorite cop film? The Fugitive isn’t a cop movie but Tommy Lee Jones was a great cop in it so that? (I can’t even think of any cop movies I’m sorry)47. Favorite road trip film? The Great Race, simply because it’s also the only one I can think of48. A disappointing film from your favorite actor? Diego Luna was not exactly a main character in Elysium but I still watched it solely because of him and then his extremely underdeveloped character was killed off halfway through to motivate Matt Damon and basically that movie was a dumpster fire. But, like, a really boring dumpster fire. I think I’d rather watch a literal dumpster fire, actually….49. A disappointing film from your favorite director? I wouldn’t say Peter Jackson is my favorite director my any means, but LotR was amazing and then The Hobbit movies happened and just… why…… why would you do this…..50. The first movie you ever remember watching in theaters? I don’t remember. Maybe one of the Ice Age movies?51. A movie that was better than the book? I wouldn’t say Jurassic Park was better than the book because it left out so much cool stuff, but I did actually like many of the changes they made. And I also saw it before reading the book so that probably helped my opinion of it quite a bit.52. Vin Diesel or Bruce Willis? Vin Diesel was the Iron Giant and Groot so him53. A movie that not many have heard of that you’ve seen? Nobody I know has heard of Teenagers From Outer Space. (How did I hear of it, you might ask? It was on tv at three in the morning and I was really really bored that night)54. A movie that changed the way you view the world? The LotR trilogy certainly changed the way I view New Zealand. I wanna go there.55. Favorite sci-fi movie? I know Star Wars is more space opera than actual sci-fi but I’m answering that anyway.56. Movie you completely nerd-out over every time it’s mentioned? Really any of my faves57. Movie that you’ve seen all the behind-the-scenes action for? Not all because there’s so damn much of it, but I’ve definitely watched a majority of the LotR behind the scenes stuff.58. Movie where your favorite actor was the only good part? Dirty Dancing: Havana Nights was absolutely AWFUL and I enjoyed it immensely, because tiny Diego Luna dancing and being otherwise adorable. That being said he was the only one that knew remotely what acting even was and the parts when he wasn’t onscreen were just… really bad. The script was also awful, but at least it was unpredictable (because it made no sense). At least it was the entertaining kind of dumpster fire.59. Movie from an actor you hate that was better than you expected? First I need to think of an actor I hate….60. Most visually stunning movie you’ve seen? LotR was just beginning-to-end scenery porn.61. A movie your parents introduced you to? Didn’t I already answer this62. Favorite genre? “Soft” sci-fi and/or space opera is usually a good bet. Alternately, anything at all involving archaeology. And if you combine them I’ll love you forever.63. Least favorite genre? Romance. I’d like an actual plot, please64. Comedy movie that you didn’t find funny? Most of the ones I’ve seen tbh65. Horror movie that didn’t scare you? Also most of them, but I rarely watch horror66. Favorite remake of an old movie? I can’t actually think of any where I’ve seen both the original and the remake67. A movie that started a passion for you? Jurassic Park. My dinosaur phase lasted into high school….68. A movie that sparked an interesting conversation? Also most of my faves. Though whether those conversations were interesting for the other person too remains up for debate.69. The main movie you remember from your childhood? Star Wars: A New Hope70. The first movie you saw on it’s opening night? The first Hobbit movie71. A move that made you ache for love. ? Is this asking for a movie that hurt because I loved it so much, or a movie that made me want to find love in my real life, or…? (I guess Rogue One for both? It was painful af and I really want a Cassian, so)

#I only answered jurassic park five times ha #(eight if you count the indirect answers)#thanks belle #I definitely can't call myself a movie 'buff' I've barely seen anything lmao #I answer stuff

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terranoctis · 3 years

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epic iii

Here there be dragons and spoilers for stories I’ve read, as is with every single one of these rambling posts.

1. Of Ice and Shadows by Audrey Coulthurst

I was maybe halfway through the book before I was hit with the kind of thought that probably why I liked this book and the prequel to this book was that it reminded me of the kind of books I’d pick up as a younger girl from Tamora Pierce and other such female writers, even though it doesn’t quite live up to the stories I truly remember from my childhood. I would say that mostly is because of characterization of individuals outside of the protagonists. Nonetheless, it’s no wonder why I kind of still enjoy this novel even if it feels straightforward at times. The novel itself is a fun read and expands extensively on the world that was first established in the previous novel. I daresay I liked this novel more than the previous one because it delved into the magic system of the world and what that constituted for one of two protagonists. It’s been awhile since I’ve read the first novel, but it does feel like a stronger read from what I can remember as well.

It’s probably one of the easier reads I’ve had in the last few months, but sometimes simple is best. I think the story makes up in heart for what it lacks in complexity. The plot is somewhat straightforward, as are some of the ways the characters react and their personalities. There’s a type of paint stroke here and there that paints the world beautifully, but seems to step the picture at times into a seemingly streamlined build of politics and the world. After having finished the novel, the world feels less dense now that I’ve stepped back, and I’m not certain if that’s a good or bad thing. I felt like the book would have benefited if it were allowed to go into the world more rather than stepping back into resolving one mystery and the separation of the two protagonists. For example, allowing us to go into Denna’s training or Mare’s experience in familiarizing with the culture of the city she was in felt limited in the scope of the entire story... and the payoff at the end of the novel was not as good as it could be because there was a slight hint of “who really betrayed the country” when the queen you’re serving is also questionable in nature. The grey morality of the queen, for one, is left as an open question that seems to set up for another novel without much resolution in this one. Nonetheless, as a young adult novel that has two female leads who are in love with one another--I think it’s a good read and another solid one set in the same world as the previous book.

I will say, as a bisexual woman, representation matters and it’s a delight to see it in fantasy novels without fetishization. It makes me happy as well to see it become more prevalent in books that are available now to a younger audience because it’s something that I wished I had as a younger kid who voraciously read.

2. The Raven Tower by Ann Leckie

I vaguely remember reading a blurb or non-spoiler review before I put this on my hold list. The concept of it fascinated me because as someone who has spent time crafting religion in her own fantasy world, my interest was always less in the religion itself, but the interplay of human and “divine” relations and how those are warped over time. It’s no wonder that the world would pull me in, as someone who’s wondered what it would be like for a divine being to be treated as a god even though they never wanted that or vice-versa how they become something monstrous because they feed off of the worship of their people. This is a world of numerous small gods and ancient gods, where something even like a rock is a god, and that seemed to be right up my alley in terms of interest for what I was writing.

It took me until I was nearly done with the story to recognize that it was also a retelling of Hamlet narrated by a rock in a fantasy world. It’s slyly retold, mixed into the human and god politics of the world. It’s a mystery mixed in with political intrigue and the odd narrative of a patient rock who’s recollecting the story and addressing it to a character we follow, the Horatio of the story. So there are some beats of second-person narration in the story that, even though I enjoyed it, could be rough. I find that I’ve been finding more and more second person narration in stories lately, this and Harrow the Ninth, which is one of the more recent stories I read last year. That being said, it makes absolute sense as a use of narration to be second person, because the rock is the one telling all these tales. The rock is addressing this character all throughout this, drawn to this man.

The rock, also known as the Strength and Patience of the Hill, is the true surprise at the end of the novel, and the payoff is quite satisfying in that. I love that the rock’s omission about little details, which he mentions as a necessity of being a god because they can speak things into existence, is a veil at the same time for the extent of the rock’s power. The rock truly is a player in the context of the entire web of things, although be it in ways they probably did not want to be. We take the rock as someone who is just a simple rock god among devious and ambitious gods, but the true twist is that even though it is not ambitious, its power is immense. The rock admires Eolo, who is the aforementioned Horatio character (and perhaps notably as well, a trans-man whose sole identity is not predicated on that), and I’ve taken it as an example to how the character reminds the rock of its own friend, the Myriad. It’s a layered story. It’s not just Eolo’s story with Mawat (Hamlet), but is also the rock’s story as the entity who is omniscient and has made their own machinations come to life in order to be safe and be saved. There are parts of the story that ramble slightly, but all purposefully well-done, in the context of how the S&P of the Hill narrates with much longevity. The payoff at the end is well worth the read throughout.

Also, I just love that you can describe this book as Hamlet narrated by a rock. I love my Shakespeare, and I love my fantasy novels. I love my discussions of gods and their divinity, and much more. This book kind of takes all these and paints it out in a way that’s very beautifully done. The second-person narration is at times my problem with this book, but I think it was a well-chosen option for narration. Other than that, I loved the story.

3. The Tiger’s Daughter by K. Arsenault Rivera

I had seen this book mentioned in circles I follow, so I picked up the trilogy when it was being sold for relatively cheap on Kindle. I’ll eventually get through the trilogy, just because I’m curious to see what happens to the two protagonists, but it’s not necessarily high on my reading list at the moment. I tend to read Kindle books faster since I can pick it up on the go or right before I go to sleep with my phone. Surprisingly, or perhaps because it wasn’t as difficult as other books I’ve been reading lately, I got through this one in a matter of three or four days. Truth be told, this story in itself is not a standout one.

Did I enjoy the story? Yes, at certain beats and in curtailed sessions of reading. Overall, it’s unique among most modern fantasy novels in the sense that it is set in an Asian-inspired world, and it focuses on two girls in love with one another as the main protagonists. In spite of its uniqueness and a solid premise to start though, I found the writing itself to be lacking. Like other stories I read recently, including When The Tiger Came Down the Mountain and This Is How You Lose the Time War, the story is being told to another, in a form of a long letter. Whereas the other two stories did it fluidly though, in terms of endearing affection to one or in terms of a woman telling a story to a scribe, this story felt a bit all over the place.

The majority of the story takes place with a long (novel) letter from Shefali to Empress Shizuka, and has interludes of Shizuka in the present time taking a break from the letter to interact with her current life where she is separated from Shefali. The letter, perhaps because it is written by a woman who is influenced by demonblood, tends to ramble here and there. There are some funny asides that Shefali makes to Shizuka in the telling of her tale, but the quantity and content of these are not always great--and as a result, tends to scramble the story a bit here and there. Not always, but enough that I felt like the story could’ve strongly been condensed. For one, I remember wondering why Shefali was retelling their childhood to Shizuka, when of course Shizuka would’ve remembered all of it, if her affections for Shefali were as intense as the letter seem to have implied. As the reader, of course we want to know their childhood, but it didn’t make much sense as to why she was narrating it again to Shefali, much less explaining cultural things to Shizuka. I feel like as a narrator, it would’ve made more sense if Shefali was writing this story and letter to an outsider to the story, like her brother or a friend outside the story, about everything that happened to her and Shizuka.

There’s also a prevailing sense that no matter what happens in the story, the two girls will survive through it together--to an extent where even the horrible things that occur to them, even at the end, feel like poor stakes in light of what we’ve been witnessing them go through. The romance seems to take priority over everything else in the story, in ways that are sometimes detrimental (because the world honestly would be more fascinating without it only being colored through the eyes of the two protagonists). The story would have been much stronger, in my opinion, if it was much shorter and the first half condensed. Because we spent so long seeing the girls grow up and build their romance, it could drag on. So, though I wanted to enjoy this story, I felt like the enjoyment at times was dragged down by the writing. Is it still worth a read? I would say, if you can suspend your opinions of the writing style, it is still a kind of fun read. Is it honestly my least favorite of the stories I’ve read recently? Truthfully, yes.

To be fair, I’ve been on a roll with stories I thoroughly enjoy, so I somewhat pity this one just by the comparisons it will draw in my recent reading list. Still good to have representation in writing, but I’m not sure it’s the best written form of representation. Truth be told, I would say this one is somewhat of a miss. Not bad, but not great.

4. Oathbringer by Brandon Sanderson

I can go on for awhile about how fun Sanderson’s writing is, but I think one of the things I want to focus on is how I thoroughly enjoy characterization in his stories. We’re continuing to witness an array of characters who are all motivated by different reasons, but we’re also progressing deeper into their personalities and their traumas. To do that, while also progressing the situation of the world around the characters, is not always simple to do. It’s certainly more difficult when you have a sprawling world on the scale of Roshar (with hints of other worlds coming into the fringe). Sanderson has that down though, and it’s why I deeply enjoy reading The Stormlight Archive.

Sanderson makes characterization extremely funny, in my opinion. There’s something so utterly absurd yet characteristic of Shallan putting herself into situations in Kholinar just so she can view and sketch how the spren are unnatural. First she stabs herself to see painspren. Then, Shallan literally trips herself to be in an embarrassing situation, so that she can view shamespren. There’s that curious and scholarly nature of hers characterized in a situational manner. The writing of the whole chapter makes me laugh in a good way. I like that these actions of Shallan’s just goes on while the conversation that details exposition of what is going on in the city occurs. It’s a brilliant way to build exposition. That’s the kind of writing I like.

There are many little things, like Adolin naming his sword Maya, or Kaladin’s annoyance with Shallan on other matters. Characterization! It’s beautiful when I find great ones. I also like that this novel delves into what is arguably the darker sides of many of the narrators, including Dalinar, who I always saw as the strait-laced man in the earlier novels. He was a warlord after all, and we get to see more of that now and the past he forgot with his deceased wife. We also get to see Shallan break more (let this girl be happy) and it’s tastefully done with how her bond with Pattern shifts by Shallan suppressing her memories and fragmenting herself to deal with it. One of the most poignant scenes for me personally in the series so far has been Wit retelling the story of The Girl Who Looked Up to Shallan, because it’s a soft voice amidst the chaos for Shallan, who is expected to be this put-together Radiant. And it’s from Wit, of all people. Even Elhokar gets his arc of growth, though it’s dashed of course by the lack of change from Moash--and that contrast is so utterly poetic. Szeth the Assassin joining their side is oddly funny as well, but also a progression of the unification that is so central to the story. I’m looking forward to seeing the consequences of all this in Rhythm of War.

As a fun fact, while I was reading all the aforementioned stories in this post, I was also reading Oathbringer. The novel’s so long though that in order to keep up with my hopes of reading more, I had to read other stories with it and to take breaks at times. 1200+ pages worth of a story, and I still enjoyed every bit of it. Someday, I can imagine this series being a sprawling universe in other media, but for right now, it’s just fun to read. Plus, my favorite character from the first novel returns in this one, and I just love reading about Jasnah. Jasnah with her shardblade as the cover will always be iconic. It’s not a flawless story, but still an in-depth one from the Stormlight Archive that never fails to impress me.

#reading and ramblings #personal #.chrysalis.#I have to say this post was heavily delayed by OB

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