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sparky_young_upstart's reviews
200 reviews
Spinning Out by David Stahler Jr.
emotional
funny
hopeful
medium-paced
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
I read this once before a few years ago and enjoyed it, but didn't retain any real details. It was also before I had a good understanding of mental illness representation in literature, especially YA. I saw it on my shelf and I started to wonder - was it as good as I remembered? Or was it a flawed attempt to bring an important subject to light?
I'm happy to say that, as far as I can tell, it's the former. I will admit I may be wrong in how well Schizophrenia is shown here - I don't have it or know anyone who has it. I like to say that I enough enough to know that I don't know much. But I have been learning about it in bits and pieces over the years, and while it may not be perfect, it certainly doesn't appear harmful. The overall message is that people with Schizophrenia and other illnesses that pop culture likes to classify as "maniacs" can truly live and thrive with the disease - provided, of course, that they get the necessary support from friends, family, and mental health professionals. You can try and wait for them to pass or handle them yourself, but in the end it's a group effort.
I used to have this at four stars, I've upped it to five. The main characters are even fresher and better defined than I remember. Even the adults, who don't get the same focus as Frenchy, Stewart, or Kaela, are fully realized beings. Frenchy's father, who committed suicide before the book began and therefore is never really seen, is still clear in my mind because of how well he was described both before and after he was involved in the war.
The teens themselves are also very realistic. They can make bad choices and ignore good advice and they can be selfish, which are all things that I know I did when I was young. The choices aren't always good, but they are true to the characters and so I can't argue with them. When it comes to Stewarts delusions, you could FEEL the awkwardness and growing concern as Frenchy tries to bring him back to reality. It hits you in the feels, hard. And really, I think it was smart to build the book as an outsider looking in rather than as a firsthand experience.
Also, all the descriptions of what it's like being in a high school theatre production are spot on. I was having flash backs to my body warm-ups and blocking and being on both sides of the techie/actor divide. It adds another spirit of realism on top of everything.
There are some things I could nitpick about. There are a few elements that I wish had been introduced earlier on or referenced before their introduction that would've helped them had more impact when they occurred in the final moments. Some moments are drawn out a bit too long, and others rush by too quickly. But those are minor things. It's an overall great book.
I'm happy to say that, as far as I can tell, it's the former. I will admit I may be wrong in how well Schizophrenia is shown here - I don't have it or know anyone who has it. I like to say that I enough enough to know that I don't know much. But I have been learning about it in bits and pieces over the years, and while it may not be perfect, it certainly doesn't appear harmful. The overall message is that people with Schizophrenia and other illnesses that pop culture likes to classify as "maniacs" can truly live and thrive with the disease - provided, of course, that they get the necessary support from friends, family, and mental health professionals. You can try and wait for them to pass or handle them yourself, but in the end it's a group effort.
I used to have this at four stars, I've upped it to five. The main characters are even fresher and better defined than I remember. Even the adults, who don't get the same focus as Frenchy, Stewart, or Kaela, are fully realized beings. Frenchy's father, who committed suicide before the book began and therefore is never really seen, is still clear in my mind because of how well he was described both before and after he was involved in the war.
The teens themselves are also very realistic. They can make bad choices and ignore good advice and they can be selfish, which are all things that I know I did when I was young. The choices aren't always good, but they are true to the characters and so I can't argue with them. When it comes to Stewarts delusions, you could FEEL the awkwardness and growing concern as Frenchy tries to bring him back to reality. It hits you in the feels, hard. And really, I think it was smart to build the book as an outsider looking in rather than as a firsthand experience.
Also, all the descriptions of what it's like being in a high school theatre production are spot on. I was having flash backs to my body warm-ups and blocking and being on both sides of the techie/actor divide. It adds another spirit of realism on top of everything.
There are some things I could nitpick about. There are a few elements that I wish had been introduced earlier on or referenced before their introduction that would've helped them had more impact when they occurred in the final moments. Some moments are drawn out a bit too long, and others rush by too quickly. But those are minor things. It's an overall great book.
Content Warnings
Graphic: Mental illness
Minor: Suicide
Last of the Breed by Louis L'Amour
Did not finish book.
Did not finish book.
DNF. 8 pages in and the native characters were referred to as "savages", "gorillas", and "monkey-faced".
William Shakespeare's The Phantom of Menace by Ian Doescher
4.0
A very clever reimagining of the first play, with some tweaks to the events that give new opportunities to poke fun at the source material. Some are more subtle than others (compare the blatant discussion on how technology seems to move backwards after the Prequel movies to the sneaking of Samuel L Jackson movies into all of Windu's lines), but many of them take you off guard since you're only expecting jokes about Shakespeare; the result is even more hilarious.
Several characters are able to express their internal monologues externally here, and we can see the seeds of the future movies (plays?) planted throughout, along with some very simple and wonderful character studies. Shmi gets several great lines not afforded to her in the films, and Padme gives a great monologue on how youths are judged mistreated by their elders (timely!)
Jar Jar's reinterpretation is interesting. The fact that he's supposed to be so smart makes his dumb actions seem even more out of plays, as if he is trying too hard. Furthermore I feel like it could cause problems in future plays. At least the "one beat short of a full verse" thing is amusing. In fact all the language is pretty good, though the fact that everyone spoke in verse through me. Surely some of the lower-class and more base characters would speak in prose, right? Not a big deal but a missed opportunity I feel.
Still, all in all I quite enjoyed this play and I'm excited to continue the rest of the series.
Several characters are able to express their internal monologues externally here, and we can see the seeds of the future movies (plays?) planted throughout, along with some very simple and wonderful character studies. Shmi gets several great lines not afforded to her in the films, and Padme gives a great monologue on how youths are judged mistreated by their elders (timely!)
Jar Jar's reinterpretation is interesting. The fact that he's supposed to be so smart makes his dumb actions seem even more out of plays, as if he is trying too hard. Furthermore I feel like it could cause problems in future plays. At least the "one beat short of a full verse" thing is amusing. In fact all the language is pretty good, though the fact that everyone spoke in verse through me. Surely some of the lower-class and more base characters would speak in prose, right? Not a big deal but a missed opportunity I feel.
Still, all in all I quite enjoyed this play and I'm excited to continue the rest of the series.
William Shakespeare's The Clone Army Attacketh by Ian Doescher
4.0
Another successful retelling in this series, though I have to admit that it starts off somewhat weak. Part of this is the fault of the source material, as Attack of the Clones (and the prequels in general) are a mixed bag at best when it comes to dialogue. The early scenes with Anakin are a chore to get through because even shifting it into flowery verse does not help his voice very much. It's only after he begins spending significant time with Padme that things smooth over and become much more interesting. Not only does Anankins speech become more flowery, but an undercurrent of obsession with Padme begins to develop.
There are many more overt Shakespeare references here, and they're all used quite nicely. Many will notice quotes from A Midsummer Night's Dream, The Taming of the Shrew, and Hamlet; major Shakespeare fans will see that said quotes have been tweaked and twisted to suit the needs of the story better, either by existing in different contexts or for the sake of an ironic gag.
The general mood of the story is improved by our ability to know see the inner turmoil of the characters via their monologues. Scenes that seemed odd now make somewhat more sense, and scenes lacking emotional depth gain it because of we can hear what people are thinking. And the ominous sense of doom that was meant to lurk on the edges of the film is much more noticeable here.
Though not perfect, it does quite a good job; the series is two for two in my eyes and I am excited to see how Doescher handles Episode III.
There are many more overt Shakespeare references here, and they're all used quite nicely. Many will notice quotes from A Midsummer Night's Dream, The Taming of the Shrew, and Hamlet; major Shakespeare fans will see that said quotes have been tweaked and twisted to suit the needs of the story better, either by existing in different contexts or for the sake of an ironic gag.
The general mood of the story is improved by our ability to know see the inner turmoil of the characters via their monologues. Scenes that seemed odd now make somewhat more sense, and scenes lacking emotional depth gain it because of we can hear what people are thinking. And the ominous sense of doom that was meant to lurk on the edges of the film is much more noticeable here.
Though not perfect, it does quite a good job; the series is two for two in my eyes and I am excited to see how Doescher handles Episode III.
William Shakespeare's Tragedy of the Sith's Revenge by Ian Doescher
5.0
The thrilling conclusion to the Prequel Trilogy is made even more thrilling here. What was already textbook shakespearean tragedy is taken to new heights thanks to Doescher’s expert translations into Shakespeare’s style and verse. The effect of wordplay and rhyming is even more evident here than it was in previous entries to this trilogy, most notably in the relationship between Anakin and Padme. Their rhyming couplets start off very tight, but when Anakin goes dark and Padme is confronted with this, the scheme begins to become imperfect - which itself is a perfect way of illustrating their demise.
The fact that Shakespearean tropes are so common in the source material does mean that Doescher does not alter things as greatly as he did in the past books to accommodate the themes. In fact, it seems like he removes some of the more awkward parts of the films - namely, many of the battles Palpatine is involved in become much more serious as Palpatine is able to establish himself as a genuine threat. Characterization is also stronger thanks to the ability to hear the character’s innermost thoughts - what once seemed like sudden shifts make much more sense once we’re able to see the inner gradualness of it all.
Most notably is Doescher’s ability to slowly make the atmosphere darker and darker in accordance with the themes of the tale. An oncoming sense of dread felt by the characters hits us as well, and even though we all know exactly what lies at the end of this story we can’t help but hope that somehow things will be a bit lighter. Spoiler: they are not.
There are some aspects of this retelling that I personally disliked, but objectively I could not find any true fault in here. It’s an excellent update to the source.
The fact that Shakespearean tropes are so common in the source material does mean that Doescher does not alter things as greatly as he did in the past books to accommodate the themes. In fact, it seems like he removes some of the more awkward parts of the films - namely, many of the battles Palpatine is involved in become much more serious as Palpatine is able to establish himself as a genuine threat. Characterization is also stronger thanks to the ability to hear the character’s innermost thoughts - what once seemed like sudden shifts make much more sense once we’re able to see the inner gradualness of it all.
Most notably is Doescher’s ability to slowly make the atmosphere darker and darker in accordance with the themes of the tale. An oncoming sense of dread felt by the characters hits us as well, and even though we all know exactly what lies at the end of this story we can’t help but hope that somehow things will be a bit lighter. Spoiler: they are not.
There are some aspects of this retelling that I personally disliked, but objectively I could not find any true fault in here. It’s an excellent update to the source.
William Shakespeare's Star Wars: Verily, A New Hope by Ian Doescher
4.0
Closer to a 3.5 but still totally worth reading.
It's interesting coming into this one because I read the prequel plays first, and those were written after Doescher did the original trilogy and it shows - the skill in using the Shakespearean style to elevate the source text isn't as refined as in other plays. However there's still a lot of quality here - the main issue is that those who expect things to be expanded upon may be disappointed to find that the text is translated almost completely straight from the play with less embellishments to it than in Episodes I-III.
The major things that I genuinely disliked were few, however. I'm not sure the Chorus was used as strongly in most areas. Also, the many asides where characters mention how Han is totally a softy and not just a gruff bitter dude kind of wreck the concept of "show, don't tell".
The best part of the play are the last two acts. Both the action and the writing really increase, the wordplay is great, the monologues are incredibly moving, and Luke's final shout-outs to "Henry V" are expertly executed.
The stuff I liked is mostly personal and not a full detraction, and if this is your first Shakespeare Star Wars book then you will definitely enjoy it. I sure did, and I'm very much looking forward to the rest of the original trilogy episodes.
It's interesting coming into this one because I read the prequel plays first, and those were written after Doescher did the original trilogy and it shows - the skill in using the Shakespearean style to elevate the source text isn't as refined as in other plays. However there's still a lot of quality here - the main issue is that those who expect things to be expanded upon may be disappointed to find that the text is translated almost completely straight from the play with less embellishments to it than in Episodes I-III.
The major things that I genuinely disliked were few, however. I'm not sure the Chorus was used as strongly in most areas. Also, the many asides where characters mention how Han is totally a softy and not just a gruff bitter dude kind of wreck the concept of "show, don't tell".
The best part of the play are the last two acts. Both the action and the writing really increase, the wordplay is great, the monologues are incredibly moving, and Luke's final shout-outs to "Henry V" are expertly executed.
The stuff I liked is mostly personal and not a full detraction, and if this is your first Shakespeare Star Wars book then you will definitely enjoy it. I sure did, and I'm very much looking forward to the rest of the original trilogy episodes.
William Shakespeare's The Empire Striketh Back by Ian Doescher
5.0
Another great outing for Doescher. The hallmarks of the series are more pronounced here, and many of my complaints about "Verily" were apparently common enough that he took them to heart and adjusted the way the play runs. The Chorus is used less, allowing the other characters to say more and be fleshed out more. This is especially present in Lando, who we're able to see right from the get go is a man trapped between handing his friend over to the Empire or losing his colony and citizens to their rule. He also plays with the style - introducing a lowborn prose-speaking character in Boba Fett, and having Yoda speak in haikus to add to his ancient and alien presence overall.
The development of Han and Leia's relationship is as great as it was in the movie, if not better thanks to their several monologues and asides professing how they are falling for the other despite them having aspects that the other simply can't stand. Even some rhyming couplets reminiscent of Anakin and Padme are snuck into their speeches when they become close.
My favourite thing, though, is that the big moments of Empire - Han and Leia's love confession and Vader revealing himself as Anakin - are preserved almost in their entirety instead of being transformed into big monologues as I expected. And really, you can't mess with those moments too much or they lose their impact. Instead, Doescher gives Leia a monologue following Han's freezing in order to capture more of her emotional state. Vader gets a monologue before his moment to help build it up, and afterwards both he and Luke get dialogue expressing the fallout from the situation - Vader's belief that Luke can still be turned, and Luke's despair being tapered by the fact that he did not give in to darkness to strike Vader down.
The whole thing is masterfully done, and as we rocket towards the original play trilogy I cannot wait to see what is in store. I hope he keeps Jedi Rocks.
The development of Han and Leia's relationship is as great as it was in the movie, if not better thanks to their several monologues and asides professing how they are falling for the other despite them having aspects that the other simply can't stand. Even some rhyming couplets reminiscent of Anakin and Padme are snuck into their speeches when they become close.
My favourite thing, though, is that the big moments of Empire - Han and Leia's love confession and Vader revealing himself as Anakin - are preserved almost in their entirety instead of being transformed into big monologues as I expected. And really, you can't mess with those moments too much or they lose their impact. Instead, Doescher gives Leia a monologue following Han's freezing in order to capture more of her emotional state. Vader gets a monologue before his moment to help build it up, and afterwards both he and Luke get dialogue expressing the fallout from the situation - Vader's belief that Luke can still be turned, and Luke's despair being tapered by the fact that he did not give in to darkness to strike Vader down.
The whole thing is masterfully done, and as we rocket towards the original play trilogy I cannot wait to see what is in store. I hope he keeps Jedi Rocks.
William Shakespeare's The Jedi Doth Return by Ian Doescher
5.0
The conclusion to the original trilogy is exactly the ending that this series deserves (until, of course, Doescher started working on the sequel plays). It's a great way to conclude this chapter of the Skywalker saga, and Doescher is able to highlight the major moments of this family using his skill with the Shakespearean style and skills at writing in general.
There's a rule all over the creative enterprise saying "Show, don't Tell". But Doescher uses aside monologues for these characters to Tell their stories in insightful and entertaining ways. He gives weight to the life-changing events of Vader, Luke, and Leia by allowing them to spill their innermost thoughts to the audience; he takes simple nuance from the films and uses it as a foundation to create very moving passages about their lives and hearts.
I do have a single gripe with this play, and that's the Ewoks. I get the motivation to make their speech patterns stand out, but the execution is highly lacking and could have made this only a four-star review if it had played a larger role. Fortunately their charm is in their attitude and body language rather than their vocabulary, so it's not a major issue.
This series has made me appreciate the original movies even more, spotting small threads and moments here and there that were the source for some great moments across all Doescher's works. I'm excited to see how The Force Awakens becomes The Force Doth Awaken when I move to that next.
There's a rule all over the creative enterprise saying "Show, don't Tell". But Doescher uses aside monologues for these characters to Tell their stories in insightful and entertaining ways. He gives weight to the life-changing events of Vader, Luke, and Leia by allowing them to spill their innermost thoughts to the audience; he takes simple nuance from the films and uses it as a foundation to create very moving passages about their lives and hearts.
I do have a single gripe with this play, and that's the Ewoks. I get the motivation to make their speech patterns stand out, but the execution is highly lacking and could have made this only a four-star review if it had played a larger role. Fortunately their charm is in their attitude and body language rather than their vocabulary, so it's not a major issue.
This series has made me appreciate the original movies even more, spotting small threads and moments here and there that were the source for some great moments across all Doescher's works. I'm excited to see how The Force Awakens becomes The Force Doth Awaken when I move to that next.
William Shakespeare's The Force Doth Awaken by Ian Doescher
5.0
The first play of the sequel trilogies is just as strong as Doescher's previous works, and shows that even he is able to improve on what I thought was a pretty good series already. Before the good, though, I do want to point out that the BB-8 dialogue is going to trip some people up. I learned to appreciate it by the end, but I like puzzles and that sort of thing. The code for his language was hard to figure out (to the point that I had to look for the answer elsewhere - read every eighth letter!) but by the end I'd mastered it. It's not necessary to translate him for the sake of the play, but it was nice knowing what he said.
Now, on to the book's biggest strengths. I find that this play captured the voices of all the characters best, even those that Doescher had written before. For example, Han Solo was certainly not poorly written in the previous plays, but his lines here are even truer to the character - to the point that I could picture Harrison saying them aloud as I read. It helps to preserve all the tones present in the film, even if the language is different. I admit I felt the same heart-swelling when Leia and Han resumed their rhyming quatrains that I did when I saw them reunited on the screen. The other standout is Finn, who's bumbling during his more awkward moments is perfectly translated into the pentameter, and the repetitive nature of many of his lines is enhanced with the style shift.
Chewbacca is another big draw, as we are now privy to translations of his growls and roars. This is a change that does add a lot to the character, since I admit to simply passing over his lines. Seeing what he's actually saying does add the the play and help me like this iteration of him more, especially come the dramatic moment he gets in the final act.
Anyone who liked Doescher's previous plays will love this series, and it's also a great way to introduce someone to the plays - especially if they've only just gotten into Star Wars as well.
Now, on to the book's biggest strengths. I find that this play captured the voices of all the characters best, even those that Doescher had written before. For example, Han Solo was certainly not poorly written in the previous plays, but his lines here are even truer to the character - to the point that I could picture Harrison saying them aloud as I read. It helps to preserve all the tones present in the film, even if the language is different. I admit I felt the same heart-swelling when Leia and Han resumed their rhyming quatrains that I did when I saw them reunited on the screen. The other standout is Finn, who's bumbling during his more awkward moments is perfectly translated into the pentameter, and the repetitive nature of many of his lines is enhanced with the style shift.
Chewbacca is another big draw, as we are now privy to translations of his growls and roars. This is a change that does add a lot to the character, since I admit to simply passing over his lines. Seeing what he's actually saying does add the the play and help me like this iteration of him more, especially come the dramatic moment he gets in the final act.
Anyone who liked Doescher's previous plays will love this series, and it's also a great way to introduce someone to the plays - especially if they've only just gotten into Star Wars as well.