Welcome to the Escape Velocity Collection!
We are an opinionated group of friends reviewing all sorts of fantasy and science fiction media. Don’t forget to get to know the curators and visit our curated Collection, where we discuss the stories that never cease to transport us to another world.
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- Movie directed by Adam Shankman
- Starring Amy Adams, Patrick Dempsey, James Marsden, and Idina Menzel, Gabriella Baldacchino, Maya Rudolph
- Released 18 November 2022
- Runtime: 119 minutes
- Spin-off of Enchanted
I was looking forward to Disenchanted for years! When it finally released I couldn’t help but feel every part of the movie was strained. The music, although written by Alan Menken, sounded like a wet copy of the first movie. The storylines for all the main characters felt very forced and mainly written to give the Big Stars enough screentime. Overall, I was disenchanted by Disenchanted.
When it comes to Disney sequels, it’s usually safe to not expect a masterpiece. More often than not, they lack the quality and originality that made their predecessors shine. This is certainly true for Disenchanted, the sequel to Enchanted.
I always liked Enchanted. It has a fun and charming premise and **the amazing Amy Adams is perfect for the role of naive fairy tale princess thrown into the real world. She sold the premise.
In theory, the premise of Disenchanted – a princess wishing for some of the magic from her former life – could work too. And, with almost the whole cast reprising their former roles, it would seem that all the required puzzle pieces for success are still there. However, I found the whole movie to be quite forgettable…
I’m afraid that’s all I have. For someone who’s often able to recount most story beats and details from media she has consumed, this is quite telling though. From Disenchanted I remember practically nothing, except that Idina Menzel – whom I still love – at one point sings an awkward song centred around the words “love power”. So, if you enjoy Idina Menzel’s singing, this movie has at least one think to look forward to?
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Listened to the audiobook with Emmelie Zipson again – well read!
Het Gulden Vlies van Thule does something interesting: it is almost as if Beckman ‘skipped’ a book in between Het Gulden Vlies and Het helse paradijs: when the story starts, our characters from previous books are in the past, and we’re a couple of years into the invasion and colonisation of Thule, and we follow the adventures of a girl emigrating from the Badener Empire to the ‘Annexed Territories’.
This means that again, the story is quite different from the previous books, which keeps the story fresh. There is more attention to the plight of the Badener citizens who, misinformed by their government and suffering from the Badener Empire’s poor resource management, want to escape poverty by taking a position in the colonies.
I won’t say that the first two books aren’t political, but Het Gulden Vlies van Thule is even less about the exploits of a few individuals, and even more about the struggle between two societies.
I’m always a little torn about Het Gulden Vlies van Thule. The first two books in the trilogy are a little brighter, a bit more optimistic. Het Gulden Vlies is perhaps more realistic, but as a result is also pretty grim. I won’t spoil the ending, but I’ve always felt like, in the end, no-one won and everyone was in the wrong. I guess that’s just war?
I think Het Gulden Vlies van Thule does a good job of presenting both sides of a conflict, painting a more balanced or neutral picture of the warring sides and allowing the reader to draw conclusions themselves.
In that sense, I think Het Gulden Vlies can be a great educational experience, a good introduction for children to talk about war, about right and wrong, and about peaceful resolution.
Having reread the trilogy, I felt like a fourth novel was missing, a story describing how the two societies grew towards a durable peace. Perhaps Beckman never got round to that, or perhaps she felt like it wouldn’t be a realistic outcome.
I’m still dreaming.
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- Short Story written by Sylvain Neuvel
- Published 12 February 2019
- Standalone
I’m a big fan of Sylvain Neuvel since I read the Themis Files, so when a short story from his pen appeared in my audiobook app, I immediately tapped.
I love The Test because it is a great example of a sci-fi short story in the tradition of the great masters such as Philip K. Dick and Isaac Asimov, placed into our modern time.
It takes an interesting science-fiction concept and inserts it into a short story with a great twist. The concept fits neatly into the short format and Neuvel makes his point without bloating the story. The bite-size nature of The Test means there is no need to stretch the suspense and the twist is delivered quickly and effectively, while leaving just enough room to explore its meaning. Neuvel does not need to explain everything and is comfortable leaving a lot tot the reader to imagine.
What is left is relatively minimal, but that does not mean that The Test is a light read. It delivers scathing societal commentary and raises thought-provoking philosophical questions. It is one of those stories that prove that good sci-fi is political – its near-future premise and reflection of current societal morals means it cannot be read without considering what implementing a concept similar to The Test would mean in our own reality.
The Test is a true conversation starter that constantly places you in the shoes of the main character and makes you consider tough moral questions – definitely worth spending a couple of hours on!
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- Novel written by Robin Hobb
- Published 11 August 2015
- Part two of the Fitz and the Fool trilogy
What can I say? If you’re this far into the series, why are you even reading reviews?
Needless to say, I enjoyed Fool’s Quest. Just like I enjoyed the other 7 novels following Fitz’s life. A word to the wise: Fitzchivalry is a little annoying in this one. But it’s nothing a seasoned Hobb fan won’t be able to handle.
This series is separated into three books mostly because it would be too hard to publish one 3000-page novel. This may well be true for Hobb’s other trilogies, though it’s been so long since I read those that I couldn’t say for certain. With this book, however, I really noticed it. The story just sort of ends, not because it makes sense narratively, but because it needed to end somewhere. I don’t know if that’s a bad thing, necessarily? It’s just kind of weird.
One thing I loved about this book is the exploration of gender and gender identity. Both the Fool/Amber and Spark/Ash seem to be gender fluid and though Fitz seems a little confused at first, he does seem to respect, if not quite understand it. Fitz gives me the vibe of someone who’s been raised in a quite conservative way, but eventually learns to be more open to people who are “different” from him. Like, he doesn’t quite get it, but he loves the Fool and wants him to be happy. Still, I’m currently in the third book, and find myself almost gritting my teeth every time someone mentions Fitz’s relationship with Amber/The Fool. I just know he’s going to be weird about it eventually. It’ll be a whole thing where he’s like “But I’m not gay!!!”. Though this genuinely might have already happened in an earlier book? Anyway, it’s interesting to see the topic of gender tackled in a book that’s not inherently about LGBTQIA+ people.
I do have one note that may be relevant to some readers: there’s a lot of mentions of sexual assault in this book. If that’s not your thing, you may want to avoid this series.
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- TV show developed by Craig Mazin and Neil Druckmann for HBO Max
- Released 15 January 2023
- Starring Pedro Pascal and Bella Ramsey
- 1 Season of 9 Episodes, renewed for a second season
Global society collapsed after a fungus turning people into zombies spread like a wildfire. Joel is a world-weary smuggler used to a life out of sight of what remains of the authorities. Ellie, on the other hand, is a sassy teenager growing up in a dreary post-apocalyptic world, whose importance neither she nor Joel can grasp. When Joel is tasked to take Ellie on a dangerous trip across country, he is (understandably) less than thrilled.
I’d heard a lot about the game The Last of Us but have never had a PlayStation to play it on. So no. I don’t think any of us have played the game.
I actually ended up watching this show twice. I had already watched the first episode when we decided it would be our next show to watch together. I decided to continue watching the show even though I knew I would be seeing it again. The first episode just really gripped me, and I didn’t want to have to wait.
I really loved The Last of Us. I liked the way it was a zombie story based on a video game, but there’s barely any zombie fighting in the show. We don’t get scenes of Joel gunning down hordes of zombies unless it’s absolutely necessary for the plot. We’re all scared of the infected, but they’re mostly background noise. The Last of Us is not unique in this, though. I think most zombie stories use the setting as a way of exploring how humanity behaves when all the rules of society have gone out the window. It works really well.
Much like my fellow curators, I loved the casting of this show. Pedro Pascal and Bella Ramsey do a phenomenal job as Joel and Ellie. I was particularly charmed by Bella Ramsey.
While I did love the show, I’m a little conflicted on the topic of adapting a video game (or any medium) for television or film. I think as a society we have this idea that TV and Film are a superior form of media, and the highest honour a book or comic, or in this case, a video game can reach is being adapted for the screen. I’d like to challenge that assumption and say that I think some stories are best told in other ways. I think video games are a phenomenal medium because they put the player at the centre of the action. If the main character in a movie does bad things, you get to judge them from the outside. When the main character in a video game does bad things, that’s the Player doing those things. It’s you. I’d argue that the psychological experience is very different.
Another game that’s being adapted for the small screen is 2K’s Bioshock. While I’m very excited about it because I love Bioshock, I also know that the central theme of the game is choice. The story works so well in a game, because as the player you are constantly the one making those choices. The Last of Us explores the question of “how much violence can we use to protect the ones we love?” I’d argue that this question is explored better in a medium where we ourselves commit that violence than in one where we merely observe it from the outside.
Before I dive in, a quick disclaimer: I never played the The Last of Us-video game, so I can’t comment on the series’ accuracy to the source material. I did, however, notice a number of very video gamey moments in the cinematography of the series, be they the frequent over-the-shoulder camera angles, the awkward split ups between the characters, the boss-zombies, or even the moments when a companion disappears just as you round a corner. And I love that! It’s (mostly) pretty subtle, but if you play(ed) games a lot it’s sure trigger that ‘I see what you did there’-feeling.
So, aside from faithfully bringing a video game to the small screen, is The Last of Us any good? The short answer is ‘yes’. The long answer is ‘varying degrees of yes’.
Interesting about The Last of Us is that many of its episodes can be viewed, individually or in pairs, as more or less separate, self-contained stories. Of course, some of those stories are better than others – but with The Last of Us, that is a matter of variation within the spectrum of ‘great’.
Many of the story lines are very heavily character-driven, which I though was surprising for a series based on a video game, a medium for storytelling that is, after all, not know for its literary inclination. But the writers of The Last of Us managed to escape the trap where the series is a series of action sequences tied together by character cutscenes. Rather, the action sequences ty together the character scenes, and each of the action sequences plays up the character element.
It’s not just the writing either. The production value is great. The performances by Bella Ramsey and Pedro Pascal are consistently phenomenal. Overall, there is very little to dislike about The Last of Us.
Really, my only disappointment was with the plotlines chosen for the final episodes (which, I suppose, were predetermined by the video game). There is a pervasive trope in post-apocalyptic (zombie) fiction that in the end, the biggest danger are always other people. As the story progresses, the initial premise – the world being overrun by mindless living dead – becomes background static while a power struggle between survivors takes front stage. The Walking Dead would be a great example.
The Last of Us is – in my eyes, unfortunately – no different. After the first couple of episodes, the undead are relegated to a plot tool with basically only one purpose: to infect a character during a momentary lapse of vigilance and create the moral conundrum for the other characters whether or not to shoot them on the spot before they turn. Don’t get me wrong, this is a trope for a reason and The Last of Us does these moments very well. But I am always a little disappointed that the setting – the zombie apocalypse – stops being integral to the plot halfway through. I don’t want to spoil you, but there are some other tropes of the setting that The Last of Us plays straight relatively heavy handed in the last few episodes. And though they aren’t poorly executed, I felt like the great chemistry between Ramsey and Pascal is perhaps wasted on what could have been a more thoughtful spin on the zombie apocalypse genre. Again, The Last of Us is great and you should definitely go watch it. But to me, these kinds of choices make the difference between an exceptional series and ‘just’ a great one.
If I’m honest, I have to admit that I was in a pretty terrible mood when we started watching the first episode of The Last of Us, which made me find fault with every single detail of the episode despite it coming highly recommended (sorry, Lotte!). Luckily no one took my grumbling very seriously, and from the second episode onwards my mood improved, as well as my opinion of the show.
It feels almost redundant to point out that Bella Ramsey’s acting is the absolute highlight of the series. The nuance and subtlety in their acting is incredible to watch, and the character of Ellie herself is simply hilarious.
While the post-apocalyptic setting and the main plotline are perhaps not the most original, for me the show still managed to surprise. Quite a few times I thought I knew exactly what was going to happen, but then they completely threw me for a loop and went in a very different direction. I don’t know if this is the result of it being adapted from a video game, but I really enjoyed this aspect. Because of these moments I was less bothered by the times when they did follow the well-known tropes that come with the genre.
I have never played the game myself so I don’t know how it holds up if you have already played it before watching, but I can at least say that not having played it does not detract anything from the viewing experience.
All in all I thoroughly enjoyed it, and am definitely looking forward to the next season.
So, The Last of Us… I didn’t play the games (playing an action-adventure game in a zombie post-apocalyptic setting would probably be the end of me), but was familiar with the general discourse around it. Many people praise the story. Additionally, it was already known to me how brilliant of an actor Bella Ramsey is, after seeing them in action in The Worst Witch, Game of Thrones, Hilda and the medieval comedy Catherine Called Birdy. They have all that range when it comes to acting… Also, Pedro Pascal always seemed like a decent fellow to me, so my expectations for this series were quite high.
It would be easy for me to try and compare The Last of Us with The Walking Dead, a series that is close to my heart and also revolves around a post-apocalyptic setting with zombies. However, I also believe that wouldn’t be really productive because their way of storytelling is very different. The Last of Us is, at the end of the day, a fairly intimate story, focussing on two protagonists – as expected, masterfully portrayed by Bella and Pedro – and their dynamics with each other and the setting. Some episodes introduce us – in a rather comprehensive way – to the perspective of other characters, often resulting in artistic little side plots that us a deeper understanding of the world Joel and Ellie’s story takes place in.
Aesthetically pleasing. These are the words I would use to describe the greatest strength of The Last of Us (disregarding the high quality of the acting for a moment). From action scenes to slow shots of people walking through desolate landscapes, I enjoyed watching it all. Arguably, I would say the only thing I thought displeasing to look at involved a French kissing zombie. Also, fast zombies give me the creeps. They shouldn’t be running. Ever.
As I said before, I don’t think it’s fair to compare The Last of Us with The Walking Dead. However, the fact that I’ve watched The Walking Dead did have an influence on my enjoyment of The Last of Us. Many of the genre’s tropes and general themes were familiar to me. And although they were well executed in The Last of Us, they didn’t evoke as strong emotions as they would have done some 11 years ago, Overall, however, I think The Last of Us very much succeeds in provoking the necessary questions. What is the meaning of humanity? And what is its worth?
Definitely worth the watch.
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Listened to the audiobook with Emmelie Zipson. No complaints!
Children of Mother Earth does not have an open ending, exactly, but once you finish it your just know the story isn’t over. You’re left wondering – what would happen if more ships would come? More men with guns? Well, Thea Beckman delivered with Het helse paradijs, the second novel in the trilogy.
Het helse paradijs ramps up the scale of the Badeners’ invasion fivefold, from an armed expedition to a full-blown invasion force. It is sometimes a bit tougher to suspend your disbelief – the Badeners seem a really formidable foe, and it is difficult to imagine a pacifist nation without armed forces of any kind holding them back. And I can promise you that the struggle in this second novel is at least as tough as it was in the first, and even more heart breaking. But Beckman makes it work and keeps you glued to the pages along the way.
Het helse paradijs expands on the worldbuilding in the first novel, including, specifically, the politics of both the Great Badener Empire and Thule, but it largely gives us more of the same – a matriarchal pacificst solarpunk utopia at war with a patriarchal explansionist military superpower. Het helse paradijs gives us great descriptions of the beautiful landscapes of Thule, the coziness of its cities, and the happiness of its people. And what is not to like about that?
What I particularly like about Het helse paradijs is the switch of perspective. Where Kinderen van Moeder Aarde has a Thulenian as the protagonist, Het helse paradijs features a Badener as the main character. This flips the script entirely: suddenly, the Great Badener Empire is home and Thule is the mysterious foe. From this perspective, even pacifists can seem cruel, and even cruel deeds seem understandable. This turns up the moral pressure, not just on the characters but on the reader as well.
Het helse paradijs is a great sequel, taking the premise of the first novel, raising the stakes and adding a twist. It may not be as original as the first instalment, but it is definitely satisfying to be back in Beckman’s imagination and see how a bigger shipment of soldiers would affect Thule, and how Thule would affect hem.
All that raises the question… we’ve seen one ship, we’ve seen five ships… Will the Badeners send 25 the next time?
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Review: Disenchanted – Disney
In ‘Enchanted’, former storybook princess Giselle leaves her fairy tale life behind to find a happily ever after in the real world with a single dad and his pre-teen daughter. In this movie, Giselle has a baby of her own and a now gloomy teenage stepdaughter. To try and escape an existence in a rut, Giselle makes her family move to a small suburban village. Furthermore, she uses a magic wand to wish a fairy tale life for her family. Alas, as often tends to happen with wishes, things don’t work out as she intends…
Review: The Golden Fleece of Thule / Het Gulden Vlies van Thule – Thea Beckman
Part 3 in the Children of Mother Earth Trilogy – Elvira is the daughter of the Badener vice-governor of Uppernavik, one of the Annexed Territories in Thule. Life in the annexed territories is primitive, in no small part due to constant sabotage by Thulenian terrorists. When she resolves to learn the Thulenian language in an attempt to understand the foe, she could not have foreseen the path that that decision would set her on.
Review: The Test – Sylvain Neuvel
In order to obtain UK citizenship, a man sits a difficult immigration test. Before he finishes, though, the session is disturbed by some unexpected visitors and the afternoon takes a grim turn…
Review: Fool’s Quest – Robin Hobb
After the events of Fool’s Assassin, Fitz finds himself back at Buckkeep Castle with his old friend, the Fool. The Fool warns him that the pale folk are looking for a child known as the Unexpected Son. Meanwhile, Fitz’s young daughter Bee is left at Fitz’s estate Withywoods, but she won’t be alone for long…
Review: The Last of Us – HBO Max
Global society collapsed after a fungus turning people into zombies spread like a wildfire. Joel is a world-weary smuggler used to a life out of sight of what remains of the authorities. Ellie, on the other hand, is a sassy teenager growing up in a dreary post-apocalyptic world, whose importance neither she nor Joel can grasp. When Joel is tasked to take Ellie on a dangerous trip across country, he is (understandably) less than thrilled.
Review: The infernal paradise/Het helse paradijs – Thea Beckman
Part 2 in the Children of Mother Earth Trilogy – Several years after the failed expedition of the Badenfelder, the Egon of the expansionist Great Badener Empire equips a new fleet of five steam-powered warships to once again set out for the mythical land of Thule. Young linguist Kilian Werfel is attached to the fleet to facilitate intercultural communication. But from the moment the Badeners’ new fleet draws near the paradise island nation, things start going south rapidly.