M. Weald

On I Kill Giants

M. Weald

February 28, 2026

Intro

I don’t read that many comics or graphic novels to be honest, though I do have a few on my shelves. Looking now, I can see Berserk and Blacksad, comic continuations of both Avatar: The Last Airbender and Firefly, and Anthony Bourdain’s Hungry Ghosts. I picked up a copy of I Kill Giants, written by Joe Kelly and drawn by Ken Niimura, without knowing much of anything about it. I knew there was a movie adaptation that I’d never seen, and that it tells the story of a young girl who says she hunts giants, who says she can see pixies, signs in the sky, and all manner of fantastical creatures roaming about her school. The rest I’d managed to not spoil for myself, and I’m not going to spoil more in this paragraph. This is a tale best read without knowing much about it. I will say that, for me, this story’s accolades are well deserved. If you like a tale with a heavy theme yet deftly told, give this one a look. For those who have already read it or fear no spoilers, keep reading. As Joe Kelly states in the author’s dedication before chapter 1, “To those fighting your own giants. You’re stronger than you think.”

Here Be Spoilers

I don’t think trauma is a one-size fits all type of thing. Yet, as humans, there are no doubt commonalities to how we process grief, how we cope with the death and suffering of loved ones. If that weren’t the case, therapists and the like would have a much more difficult time, each new client or patient a heretofore unseen and unfamiliar type of puzzle. Rather, while each person is no doubt a puzzle that requires expertise to unravel, I get the feeling there are favorite knots and snarls we as humans have evolved to favor. We’re not quite Rubik’s Cubes, disordered colored tiles that require only a finite number of set actions to inevitably solve, yet neither are we Goldbach’s Conjecture, a mathematical theory whose proof has eluded mathematicians for many years now. We are something between.

The death of a loved one is an unfortunate reality of life that all of us have to face at some point or another. It’s just, you hope that one does not have to face that too young, while the brain has yet to form coping mechanisms, as it were. Not that it’s easy to face as an adult. We learn towards the end of the book I Kill Giants that the main character Barbara has created this fantasy world of hers to escape the reality of her mother’s terminal illness. This story is nothing if not the tale of a young girl coming to grips with her mother’s impending death, of her learning to embrace what little time remains. It’s a well told story, one that could have easily tilted too far into the dark or too far into the saccharine. It does neither, deftly threading the needle. The art is fantastic too, doing a great service in bringing Barbara’s tale to life.

Outro

As one who spends much of their time immersed in the fantastical, I have occasionally heard critiques from those who don’t enjoy such tales, deriding them as escapist, as childish attempts to hide from the harsh realities of the world. I can’t argue that there isn’t a tinge of escapism to fiction, but I would argue that this characterization entirely misses the point. Stories are nothing if not exercises in empathy, curated by the author but wholly experienced by the reader. Whether containing fire-breathing dragons or giants the size of skyscrapers, we tell stories, we consume stories, to experience life from another perspective, to learn, and sometimes just to experience something cool. The best tales, no matter what fantastical elements they contain, are grounded in human truths. They are a guided tour, and they help us process. In this story, that was what Barbara needed in order to come to grips with her mom’s illness.

All the best,

M. Weald

On Interstellar

M. Weald

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January 31, 2026

Intro

I’ve always been a fan of Christopher Nolan films. I recently bought a blu-ray collection of his movies, including films back through Batman Begins and The Prestige (wish it had included Memento). For whatever reason, Interstellar was the last of his filmography I had yet to watch. Given my love of sci-fi and the film’s well regarded status, and my brother’s continued attempts to get me to watch it, I’m not quite sure what took me so long. Finally, after years of seeing that meme of Matthew McConaughey crying in a spaceship and not knowing the reason as to why, I gave it a watch. Just as my brother always said I would, I loved it. So, let’s get into it.

Back Cover Blurb

We’ll keep this section brief, because I have to think I’m one of the few who had yet to see this film that premiered over 10 years ago now. I’ll stick with the high level easy to glean aspects of the plot, things that could be learned through cultural osmosis let’s say, or found in a back-of-the-book style blurb, if movies had such things. The film largely follows Matthew McConaughey’s character Cooper, an ex-NASA engineer and test pilot, and his family, a daughter Murph and a son Tom (a young Timothée Chalamet I entirely forgot was in this movie). The earth has been ravaged by blight, such that dust storms are a frequent menace, and food shortages are the main risk to continued human life. Suffice to say, the earth is dying. As one character early on puts it: “The world doesn’t need any more engineers. We didn’t run out of planes and television sets. We ran out of food.” The way a hidden research facility of a now largely defunct NASA suggests to resolve this is through interstellar travel (cue title). They aim to leave earth for another habitable planet. A wormhole has opened near Saturn, allowing for travel to a new system with potential homes for humanity, all near a massive black hole. The real-world theoretical physicist Kip Thorne who advised for this film had a lot to play with here, and it shows. The gravitational time dilation part and parcel to travel near such a massive object is at play to great effect. Those who go in on the mission would be risking it all in order to save humanity. And risk it they do.

Here Be Spoilers

Sci-fi, as with most things, exists on a scale. At one end is Star Trek (which, don’t get me wrong, I love Star Trek The Next Generation, Jean Luc Picard number one!), and at the other end is films like The Martian, based on a book of the same name by Andy Weir. One plays fast and loose with science to the point of their technical sounding nonsense ramblings at times reaching the point of self-parody, and the other sticks with the known rules of the universe as best they are able. To be honest, I enjoy both, so long as they are consistent in their choice. One finds stakes and fun in outlandish scenarios that could never happen in real life, and the other finds drama in dealing with the constraints all us flesh and blood mortals must follow. Most sci-fi stories land somewhere between. This movie, while certainly taking some liberties, largely tries to stay within the bounds of what could be, theoretically anyway. The aforementioned physicist Kip Thorne even wrote a book titled “The Science of Interstellar.” Even the existence of this book should indicate where on this scale this sci-fi move lies. I was particularly struck by the incredible depictions of both the wormhole and the time horizon of the massive black hole Gargantua. They blew my mind. And since we are in the section of spoilers, let’s get to the gravitational time dilation. Its impacts in this film tore at my heart strings. After so many years of seeing that meme of Matthew McConaughey, I finally knew its context, and I’ll be damned if I didn’t cry along with him. As someone who currently has no kids but is leaving that possibility open, I can only imagine the pain of watching your children grow up without you. They had just barely escaped an ocean planet unsuitable for life and had lost a crew member in the process, only to make it back to find 23 years had passed. As usual, the soundtrack by Hans Zimmer was incredible, and its impact hit home in this scene. I wondered why people got all dewy eyed by the song that plays. Now I know. In other heart wrenching moments, I never did trust Matt Damon’s character, but I found the extent of his betrayal both surprising and inevitable. I figured Matthew McConaughey’s character had been the one to be playing with the gravity in Murph’s room, but I still teared up a bit at the reveal. By the time he escaped the black hole and talked with his daughter on her deathbed, I think I was just a touch numb.

Outro

Basically, if you were like me and waiting for just the right impetus to go watch this gem, let this be it. I give it a hearty recommend.

All the best,

M. Weald

On The Poppy War

M. Weald

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December 31, 2025

I finished reading The Poppy War by R.F. Kuang recently. For those who are unaware, it’s a grimdark fantasy tale that pulls a lot of its material from China’s past several hundred years or so of history, in particular the Sino-Japanese conflicts and the Opium Wars. It is dark, with the depicted events all the more disturbing for their grounding in real world happenings. Of course, it being a fantasy tale, it pulls in non-historical concepts too. There are those in this novel’s world with shamanistic magical powers that range from turning into a fox, to becoming a maniacal ape-like warrior harnessing the powers of the Monkey King. Of particular import are a race of people known as Speerlies who can summon the fire of their god, the Phoenix, when in the correct mind-state. Talking about mind-state, psychedelic drugs play a significant role for all the shamans. But, before that, let’s get back to the real world history for a bit.

First off, I’m very much a white dude. I grew up in southern Indiana, and my pale skin fears the burning heat of the sun almost as much as the midwestern American palate fears spice. I rebelled on both those fronts, resulting in many sunburn-adjacent tans and a gradual spice tolerance built from tear-inducing meals. When it comes to Chinese history however, I think my knowledge there is different than my childhood background might initially make it seem. Namely, I minored in Mandarin in my undergraduate studies and studied abroad at Shanghai Jiao Tong for a semester. In that time, I developed a fondness for that area of the world that has led to many subsequent trips over the years. As a result, while I’m certainly no expert, many of the historical events that informed this novel were familiar to me beforehand, along with some understanding of China’s dynastic and post-dynastic history. I knew of the unspeakable atrocities committed at the Rape of Nanjing by the Japanese army in 1937/38: the wanton murder and the rape of innocents, the competitions among the Japanese soldiers to see who could kill more helpless people, the sadistic torture and truly inhuman acts of violence. Just to give a further example of how bad it was, a German member of the Nazi party by the name of John Rabe is credited with saving many civilian lives through the establishment of a safe zone. I had also read of the Opium Wars in the 1800s in which Western powers extracted several rather unequal treaties over the right to trade addictive Opium into the country. On a more recent historical front, I’d also read of Mao Zedong’s so-called ‘Great Leap Forward’ that caused one of the greatest famines in human history, resulting in the death of millions.

Suffice to say, there is a lot of historically-inspired human suffering in this fantasy tale. At times, especially with respect to the Rape of Nanjing, this novel pulls its descriptions almost straight from the history books. Reading some of this was … hard, and all the more so knowing a corollary event actually happened. This book takes these real events and puts a fantastical spin on them with one question at the fore: why? This book is nothing if not an attempt to understand how a human being can rationalize such evil acts, on how one might abhor such things only to then commit similar acts themselves, whether for power or vengeance. It tells how violence, even when done in the name of justice, still begets violence. Of sunk cost fallacies and broken descents into madness even while clambering to escape. Of choice and consequence.

So, would I recommend this book? Well, it depends on your taste. If you like grimdark fantasy and have an interest in Chinese history, I would say give it a read. For me, I’ve found grimdark can be hit or miss. I don’t typically go to novels to be smacked in the face by descriptions of the evils of this world. I see enough of that already in the news. I like having people I can root for. Call it sentimental, but I like having a hero or heroine save the day. Don’t get me wrong, I want complexity and moral ambiguity, but still, I often go to novels for a coherence and meaning that the real world so often lacks. That being said, I do also think the message of this novel to be an incredibly important one. And so, I am at odds with myself. On a more technical level, I thought the writing was good but not always necessarily my cup of tea. Sentence structure at times struck me as odd. And while the fantastical depictions of real life events were incredibly powerful, the plot did feel at times beholden to history in a way I wasn’t used to for a fantasy novel. As a result, I return to my earlier comment. If you like grimdark fantasy and have an interest in Chinese history, give it a read.

All the best,

M. Weald

On Hollow Knight: Silksong

M. Weald

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November 30, 2025

There is a point where the phrase “nothing worth doing is ever easy” drives one to near masochism. It usually doesn’t. I would say on most occasions it’s a decent enough shorthand. But there is no shortage of Sisyphean tasks out there, and some are even less useful than eternal torment pushing a boulder up a hill only for it to roll back down whenever you get close to the top. Some bureaucratic formwork comes to mind. Although, as an engineer, I will die on the hill that proper documentation is important. No matter, there are countless classic examples of daily chores that fit into the traditionally Sisyphean bucket: laundry that can never be truly done because you are dirtying clothes even as you wash others, dishes because the necessity of eating creates more, and weeding a garden because nature has its own designs that will inevitably overcome mortal efforts. I’m empathetic to the absurdist takes of philosopher Albert Camus in this regard: revolt against a universe unresponsive to humanity’s desire for meaning, clarity, and order. Revolt by accepting the silence and forging forward regardless, finding your own meaning along the way. However, I am no absurdist. Personally, I’m an agnostic. I would never go so far as Camus and call the acceptance of a higher power “philosophical suicide.” When religion is done well, it offers a place for hope, comfort, and caring acceptance. Why would I ridicule others for that? Rather, my stance can be summed up by a phrase I personally think most people would do well to more readily say: “I don’t know.” I don’t know if there is a god. My experiences viewing the world and the stories of those far less fortunate makes me think it unlikely. There is so much needless pain and suffering in this world. Joy too, absolutely. But the prevalence of the former makes the existence of an all-caring, all-powerful god hard to accept for me. And so I continue on, trying to do right by myself and others and find meaning along the way. And if there is a hell, I should think there is a special place reserved for those who usurp the intrinsic human need for hope and meaning for their own gain, for those who use religion as a tool for power and manipulation. But, I digress, how does this relate to the video game Hollow Knight: Silksong created by Team Cherry? If you’ll indulge me, a fair number of ways actually.

For those unaware of this game, it is a sequel to 2017’s Hollow Knight. I played that game all the way through, eventually getting 112% completion or whatever ridiculous percentage was the max. Suffice to say I enjoyed it immensely. It, and its sequel, is a metroidvania platformer. If those words don’t mean anything to you, it’s a 2d side-scroller where you control a little guy as he jumps and fights his way through a haunted bug kingdom to uncover hidden secrets. The sequel, Silksong, picks up after the events of the first from the perspective of a character who’d only had limited scenes in the prior game. The boss fights are plentiful and difficult (just like in the first game), and you will die many times before you manage to succeed (also just like the first game). Think of old-school Super Mario World but harder and you’re getting near the right track. I reference Sisyphus, Camus, and near masochism above because, unless you are an experienced gamer, the difficulty of Team Cherry’s games will likely summon that familiar Dark-Souls-like urge to throw your controller across the room in frustration as you die to the same boss for the umpteenth time. I certainly had those moments. I also recall the triumphs when those bosses made up of pixels on a screen fell to my digital blade. Pointless? By most metrics I would say it was. Hard? Certainly. Enjoyable? Yep, aside from when the frustration burned at its hottest perhaps. But now for the all-important question. Did I find it worthwhile in the end? Indeed I did! And therein lies the paradox. I don’t have an answer mind you. I’m just some random dude on the internet. But I will say this, accomplishing something hard can be its own reward. And when you throw in a stellar soundtrack, fantastic art, and impressive game design, you have yourself the makings of a great time. In my opinion, Hollow Knight: Silksong followed in the steps of its predecessor and delivered a solid experience. If I had to get nit-picky, I would say it does have a bit more fetch quests of sorts than I would like, but that is a small quibble in the scope of things. For any interested in a challenging video game to throw themselves against, I give both Hollow Knight and Hollow Knight: Silksong a hearty recommend.

Oh yeah, I almost forgot. Why did I bring up the comments about religion above? Well, while these games take place in kingdoms of intelligent bugs, they are quite dark in theme, and they delve into religion used to manipulate the masses. I won’t spoil any of the lore here, as I think it interesting to uncover while playing the games, but suffice to say the gods of these bugs often don’t bother themselves much with the wellbeing of their followers.

That’s all I’ve got for today. All the best.

M. Weald

On Murderbot

M. Weald

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October 31, 2025

I read the novella All Systems Red by Martha Wells (the first in the Murderbot Diaries series) prior to watching the Apple TV+ adaptation that simplified the title down to just ‘Murderbot’. As any who have read some of my past posts could probably tell, I find the art of adaptation really interesting. What the adapters add to or cut away from speaks volumes to their motivations, or the motivations of the execs signing the checks. Adaptations are just like anything else; their quality runs the gamut from the well cast but terribly written Dark Tower movie adaptation, to the landmark Lord of the Rings trilogy. As far as the Murderbot adaptation goes, I was uncertain at first, but it stuck the landing in the end. Let’s dig in, and I’ll do my best to avoid any spoilers.

For those unfamiliar with the premise of the Murderbot Diaries in general, it is a sci-fi series following a bio-mechanical android created to act as a security unit, or SecUnit. The first entry in the series, All Systems Red, shows us the titular SecUnit doing his best to protect the clients assigned to him as they conduct research on a hostile alien planet. The tricky part is, this SecUnit has hacked his governing module, giving him autonomy when all such units are supposed to be fully under human control. As a result, this SecUnit, who calls himself Murderbot due to the hazy memories of a previous malfunction, does his best to fulfill his role without drawing undue scrutiny. He protects the humans, but any attempts at social interaction terrify him. He much prefers to watch the space opera tv shows he has downloaded to his internal storage. It is a comedic story that examines what it means to be neurologically different than the mainstream, while also including alien fauna and sci-fi shootouts. I give it a hearty recommend.

So, back to the adaptation. How does it do? Well, at first, it felt like it was making a classic mistake in this space: dumbing down the characters. I’ve seen this time and time again when Hollywood gets its hands on a story. They feel the need to have every character make the stupidest possible decision, often against previously established motivations, in order to further the plot. More often than not, it comes off as the lazy writing that it is. However, when it comes to Murderbot, while they did dumb down some of the characters, they did it for what I felt to be a good reason in the end. This makes all the difference. To clarify a bit, the scientists Murderbot is assigned to protect are from an independent planet outside the Corporation Rim. As a result, they aren’t so keen on the indentured servitude or outright slavery that corporations regularly engage in. They feel uncomfortable around Murderbot, as they rightly view such practice as the subjugation of an intelligent being. You could label these scientists as space hippies, and you wouldn’t be far off. The thing is, in the books, they hold these views and are utterly capable at their jobs. Dr. Mensah, leader of their expedition, shows herself as decisive and calm in the face of terrible danger. The rest of the crew, while perhaps not as outwardly calm, each come through in their own capacity. In the show, however, the writers really leaned into the space hippie vibes. Which, don’t get me wrong, I love me a space hippie at times. But, having read the source material, the first couple episodes just felt a bit odd due to the change. They made them far less capable, made them ill-prepared to be thrust into a hostile alien planet. It made for some laughs, sure, but I still wasn’t sold on the shift. However, as the episodes progressed, I started to see more of why they’d done it. They wanted to give the characters more of an arc across the season. They wanted us to watch as these scientists grew in the face of difficult odds. This became particularly clear with Dr. Gurathin, the scientist who most distrusts Murderbot. Without giving away spoilers, the final episode of the season made me tear up a bit and banished any doubt I had in the adaptation. They stuck the landing, and I’m ready to watch season 2. Also, the lead actor for the series, Alexander Skarsgård, does a fantastic job in my opinion.

That’s all for this time. All the best.

M. Weald

On Over The Garden Wall

M. Weald

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September 30, 2025

Over the Garden Wall is an animated limited series that originally aired on Cartoon Network way back in 2014. I first watched it years ago with my brother, but recently revisited the series after purchasing a DVD copy. These days, out of a desire to be less dependent on the whims of the streaming companies, I’ve been trying to improve my DVD and blu-ray collection. I’d rather not get stuck in a repeat of what occurred with the series Infinity Train.

Upon re-watch, Over The Garden Wall was as I remembered: a quirky, folktale-inspired story with more depth than first appears. The creator, Patrick McHale, was best known for his work on Adventure Time prior to Over The Garden Wall, and I would say the general feel of the show’s humor correlates well with the adventures of Jake the dog and Finn the human. However, instead of a d&d style fantasy world, Over the Garden Wall takes its cue more from Grimm’s Fairy Tales. While both Adventure time and Over the Garden Wall ostensibly are kid’s shows, they’re firmly in that “actually meant for adults too but animation as a medium has an unfair connotation of only being for kids so they do what they gotta do” space.

Over the Garden Wall is a weird, atmospheric tale following two half-brothers find their way out of a dangerous forest. Wirt, the older brother (voiced by Elijah Wood), is an introverted, anxious sort who writes poetry and plays clarinet, while the younger brother Greg (voiced by Collin Dean) is a more carefree sort who spends much of the series trying to settle on a name for his frog. They meet folk such as the mysterious Woodsman, the talking bluebird Beatrice, and the dangerous Beast. Odd sorts populate the forest called the Unknown, and suffice to say the meaning of the brothers’ struggle is more than meets the eye.

If the above sounds to your liking, give it a shot. The episodes are each only around 10 minutes long, and the series told its full tale in the single intended season. To make things even more fitting, watch it during the fall, when the leaves are changing and Halloween costumes are on the mind.

All the best,

M. Weald

On Severance Season 2

M. Weald

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August 31, 2025

If its presence at the Emmys wasn’t enough to sway you to watch this show, I’m not sure what else I can say. Nonetheless, go watch this show. If you like existential, earth-based sci-fi where unsettling mysteries abound; if you have ever wondered what it would be like to split your work self into its own persona; it’s past time to give this a shot. I already did a post on Season 1, and what I said there continues in season 2. It’s some stellar TV. The ending of this season in particular was well done. I can’t wait for season 3.

All the best,

M. Weald

On Superman

M. Weald

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July 31, 2025

So, despite the very real superhero fatigue I’ve felt since Marvel’s Avengers: Endgame sent the purple-thumb-faced Thanos into his second, more permanent, retirement (although, they’ve opened the pandora’s box known as the multiverse, so shenanigans are always at the ready to axe both stakes and consequence), I saw the new Superman movie in theaters. Turns out, I actually quite enjoyed it. I thought I might.

My first introduction to James Gunn — the writer/director of the most recent Superman movie and now the general overseer of all things DC live action — was as the writer/director of Guardians of the Galaxy, which was my favorite Marvel movie of that era. The premise of this Superman movie felt more or less to me like they asked, “What if Superman was just a good guy? Ya know, replete with the red trunks and everything? How about we keep Guy Gardner’s bowl cut too?” It felt refreshingly earnest for a change. Still a superhero movie of course, with all the usual trappings. If you generally don’t like watching people fly around with capes, you’re not going to like this one either. However, if you’ve seen anything else of James Gunn’s and enjoy his style — quippy yet earnest, crass yet caring — then I’d give this one a watch. I enjoyed David Corenswet as superman. Same goes for Rachel Brosnahan as Lois Lane, even if it’s not as meaty a role for her as Marvelous Mrs. Maisel. And Krypto the dog, while based off James Gunn’s own dog, is some impressive CG. Hats off to the animators.

As far as DC as a whole, I don’t know. Any new superhero movie, Marvel or DC or anyone else that might throw their gauntlet into the ring, has to pass extra scrutiny given the fatigue that Marvel set into my bones with their nonstop releases leading up to Endgame. As much as I love Pedro Pascal, I didn’t watch the new Fantastic Four movie, and I’m not sure if I will. But back to DC. As far as their new direction under James Gunn, I’ll say this: I’m intrigued.

All the best,

M. Weald

On the Night Angel Trilogy

M. Weald

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June 30, 2025

I read the first novel of the Night Angel Trilogy on the basis of a friend’s recommendation way back in high school, only recently coming back to finish off the last two of Brent Weeks’ fantasy trilogy (though I do believe a new entry in the same world has since been published). On the whole, it was an engaging read, feeling a bit like a time capsule for the dark fantasy often published in that era, with all the associated strengths and weaknesses therein. In some superficial ways, I liken it to the romantasy genre currently taking the publishing world by storm, except with a definite tilt towards the male reader, versus romantasy’s tilt towards the female audience. So, let’s dig into Brent Weeks’ Night Angel Trilogy, without allowing in any pesky spoilers (though admittedly it gets spoiler adjacent).

First off, for those unaware, there is the trope of a male author over-sexualizing the women in their works through base description. This is sometimes referenced shorthand as ‘breasting boobily’ or ‘boobs boobing boobily’. And, well, just do a Google search and you’ll find a number of Reddit threads discussing this phenomenon in relation to Brent Weeks’ Night Angel Trilogy. The fantasy genre unfortunately has no shortage of this trope. However, in the context of this series, the descriptions in question are often from the narrative perspective of boys in their teens or early twenties, and the general intent of their usage – at least based on my read through – was to show how it’s better not to judge someone solely on their appearance, how that could easily go awry. And in terms of an accurate depiction of a teenage boy, I was in the throes of puberty once, and while I wasn’t ever really prone to describing women in such teenage-boy-poetic fashion, I definitely knew other boys that did. So is it accurate in that regard? Unfortunately for all us guys out there, yep. These books contain descriptions of breasts and ass in the vein of Bugs Bunny ogling Lola Bunny with eyes drawn larger than his head while pulling at an imaginary necktie and saying “awoogha.” Or perhaps think of a Japanese anime character seeing a well-endowed woman and getting a nosebleed. And well, as the current romantasy boom – and the bodice ripper, harlequin romance novels that have been popular since the beginning of modern publishing – have shown, sex sells, whether targeted towards the male or female gaze. Titillation is one of the most universal of all humanity’s facets. Books have historically been a safe space for sexual expression, and I’m not here to yuck anyone’s yums, so to speak. Still, it is a lot, and how you as a reader might respond to it will vary. At the end of the day, it’s about not reducing characters to just these facets, which goes into the next topic.

How an individual’s facets distinct from one’s physical attributes are given focus is important to me in any given narrative, whether of a male or female or anywhere between. On this track, the Night Angel Trilogy has a mixed record. Certainly characters like Momma K and Vi Sovari have interesting arcs, one finding success in a realm dominated by evil men through ruthless cunning, the other overcoming her trauma to think of her body as more than just a tool used to kill or seduce. There are other examples too, such as the mage Ariel. Two of the main characters, Kylar and Logan, both young men, get their own descriptions pulled straight from the minds of horny young women and have ample agency. Without getting into specifics, the costs of Kylar’s magic drive a lot of interesting tension, and one truly heartbreaking moment in particular. However, we have Elene, one of the main characters and Kylar’s love interest, whose sole purpose in this series is in service to Kylar, and her acceptance of that fact didn’t sit super well with me. And going back to Momma K and Vi (and Elene and Jarl and others), it’s worth noting that these books are perhaps overly reliant on certain types of trauma to define its characters, and women do bear the brunt of that (though not all).

These books depict a lot of violence, pain, and suffering. Heroes need evil to vanquish of course, kind of a requisite part of most any such fantasy epic. All the better if the evil destroyed is particularly depraved. The sword and sorcery fight scenes are commensurately really fun reads, and the magic system generates some quite cool moments. But the level to which sexual assault is used to show someone is evil at times made me think I was binging episodes of Law and Order: SVU. Were these types of things common in the medieval period that serves as the groundwork for so much sword and sorcery fantasy? Was misogyny a frequent occurrence too? Do these things still happen? Yes, yes, and yes. Even so, the amount of such occurrences in this trilogy is a lot. It did wear on me a bit. Once more, how you as a reader might respond to it will vary.

So, at the end of the day, would I recommend this as a read? Well, as in pretty much all cases, it depends on your taste. If you like a dark sword and sorcery fantasy with epic fight scenes, magical conflicts, and easy to read prose – and you’re willing to wade through descriptions of some of the worst aspects of humanity before the heroes win the day – then sure thing, give it a go. Otherwise, probably go for a different one. Something I didn’t really get to here either is that, while the magic system allows for some very cool moments, there is a bit of a tendency for Deus Ex Machina type resolutions that may not satisfy everyone, a not uncommon occurrence in stories that incorporate prophesy as a key narrative tool. Nonetheless, I overall quite enjoyed this series and its ending. As far as whether I’ll read the follow up series, not sure. These days, it seems like the entire world is vying for my attention – everything, everywhere, all at once – and the bar for moving up my to be read list grows ever higher. Think I might read some more Ursula K. Le Guin next. I’m also finishing up The Tainted Cup by Robert Jackson Bennett at the moment, which is a fantastic read.

All the best,

M. Weald

Reviews by the Campfire: Stack #1

M. Weald

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May 31, 2025

It’s been a busy time over here, with the many fantasy and sci-fi stories I’ve read or watched or played stacking up like cordwood near an unlit campfire. So, grab a chair and take a seat, because this fire is about to be lit, and these stories burn bright and quick. As we watch the flames dance from each and every log, I’ll be keeping my thoughts brief, just a couple sentences each. No sizable spoilers will be found here either, though there might be the occasional allusion or tidbit or statement already released in promotional flyers. Anything major has been banished away from the fire, into the cold and lonely dark.

LOTR: The Rings of Power Season 2 (Amazon Prime Live Action Series)
- Thankfully, I found the second season even better than the first. The overall writing was much improved to my mind, with Sauron’s manipulations as Annatar, Lord of Gifts, particularly enthralling. If you have always wanted to see the creation of the rings of power given visual form, I’d give it a recommendation.
The Legend of Vox Machina Season 3 (Amazon Prime Animated Series)
- I can’t get enough of The Legend of Vox Machina. I loved the first two seasons, and I loved the third. While I’ve never watched the original Critical Role campaign which the animated series depicts, this medium is the distillation I prefer. I find myself unable to fit in the sheer length of content Critical Role’s live action roleplaying requires, yet still thoroughly impressed by the storytelling. I’m just glad this animated series exists so I can experience it. Also, the romantic in me quite enjoyed this season’s willingness to tackle romantic relationships. If you enjoy irreverent and raunchy fantastical adventure with no small amount of heart and depth, join the group of heroes known as Vox Machina and give this show a watch.
Tress of the Emerald Sea (Novel by Brandon Sanderson)
- There was something particularly refreshing about this novel. While it did have a fair number of Cosmere tie ins that tickled the brain, it still felt fairly standalone. Although, that could just be because I’ve read every Cosmere book to date and any such references intrigued rather than annoyed. In any case, this book might have been my favorite of the Year of Sanderson kickstarter stories. It is a lighthearted fairy tale romance that makes any such tropes its own. Not to mention, there are oceans of spores reliant on the interesting real world phenomena of particulates like sand acting almost as a liquid when aerated from below. For lovers of the modern fairy tale, give it a read.
Hades (Roguelike Action RPG by Supergiant Games)
- Roguelike’s are a hard video game genre for me. For those unfamiliar, roguelike’s rely on a looping mechanism, as in, your character generally has to restart from the beginning upon every death, at least geographically. A Sisyphean task you might say. Your character often unlocks new abilities or story notes with each new attempt. Hades is actually about the son of Hades, Zagreus, as he tries to escape the labyrinthine Underworld. With each attempt, you get farther and learn more about Zagreus’ motivations, Hades’ past, and the intrigue amongst the Greek gods of Olympus. The gameplay is stellar, the music is stellar, and the story is, you guessed it, stellar. Above all else, the game stays entertaining even as you make your hundredth escape attempt. For those who haven’t quite found a roguelike that fits their tastes, give this one a shot. Oh, and I’m not bi, but the memes about this game being a bi-sexual awakening make sense. Most every character depicted in this game is objectively attractive.
A Wizard of Earthsea & The Tombs of Atuan (Novels by Ursula K Le Guin; Earthsea 1 & 2)
- I’m grouping these together as its been a minute and their stories have blurred in my mind a bit. Nonetheless, I’m glad I’ve finally visited the islands of Earthsea, this legendary fantastical realm written by one of the best fantasy and sci-fi authors to put pen to paper. I will say, these tales definitely reflect the fads of fantasy present at the times of their writing. A Wizard of Earthsea was published in 1968, The Tombs of Atuan in 1970. A Wizard of Earthsea in particular feels it, reads more akin to an epic seafaring edda than a modern retelling. Everything is told in grand scope, but as a result we never quite close in on the main character’s, Ged’s, perspective in the same way the modern 3rd person limited perspective so often does. Truth be told, this older style of writing, grand though it may be, isn’t always my favorite, yet I nonetheless enjoyed the ride and greatly appreciate its value. I think I liked The Tombs of Atuan a bit more as it shifted away from the zoomed out style, got more close to the relevant perspective. Nonetheless, if you want to see what has inspired countless fantasy tales over the past 50 odd years, definitely give this a shot.
DanDaDan (Anime Adapted by Science Saru, Manga by Yukinobu Tatsu)
- Anime so often is a hit or miss for me. It usually depends on the relative frequency of what I like to call “Oh, Japan” moments, little clips of, typically pervy, cultural dissonance that just aren’t quite my cup of tea. And yet, sometimes a show can take that to the extreme in satirical fashion and it somehow works? I don’t really understand it. But this show is a topically raunchy, irreverent tale depicting two teenagers as they handle the struggles of puberty and battle errant ghosts and aliens who have a rather unhealthy obsession with human anatomy. Weird right? And yet it works.
Castlevania: Nocturne (Netflix Animated Series)
- The original Castlevania animated series on netlfix has to be in my top5 shows of all time. Its blend of fun dialogue and absolutely exhilarating fight sequences kept me entranced, while the narrative and character work gave it far more depth than I’d expected going in. Perhaps because I have my own complicated history with organized religion – I went to a private Catholic school for grades k-8 – I often find the depiction of the potential evils of the church an interesting narrative hook. As far as Castlevania: Nocturne, a sequel to the aforementioned Castlevania that follows Sypha and Trevor Belmont’s descendants in the age of the French Revolution, I found it to be a worthy successor to the original, with much the same strengths. If you liked the original Castlevania adaptation, give this one a watch.
Arcane Season 2 (Netflix Animated Series)
- Talk about impressive animation. This series, animated by Fortiche Studios, is clearly a labor of love. The animation is absolutely stunning. As far as the story, it’s good, a solid addition to season 1’s narrative, even if it felt a bit rushed. That would be my only real critique on this one. I know there are spin-off series in the works, and I’m excited for those, but season two felt like it could have been multiple seasons on its own, and it had several narratives that felt a tad unresolved. Nonetheless, if you want to watch some impeccable animation and a story that, while a bit rushed, the creators clearly pored their hearts and souls into, give this a watch.
Firefly and Serenity (Live Action TV Series and Movie)
- Ah Firefly. Oh how I am saddened by your untimely cancellation. To be clear, I’ve watched the TV series Firefly, and its subsequent movie Serenity, multiple times at this point. This was just a rewatch to introduce the IP to my girlfriend. For those who haven’t heard of it, the show Firefly aired on Fox years ago, circa 2002. It’s a favorite of mine, one mishandled by Fox and gifted an early cancellation as a result. It’s a fun blend of the western and sci-fi genres that follows the found-family, ragtag crew of a spaceship as they just try to stay afloat. With a compelling over-arching narrative and fun adventures of the week, there’s been none quite like it since, though several have tried.
Severance Season 1 (Apple TV+ Live Action Series)
- Ok, so first thing, if any Apple TV+ executives are listening, change the name of your streaming service. It’s confusing and silly given you already have a piece of hardware called Apple TV. Granted it’s not as bad as whatever HBO Max is calling itself these days, but still. When it comes to your greenlighting of shows though, don’t change a damn thing. As someone who uses an Android phone and generally refuses to buy Apple products due to the company’s high-prices and overall holier-than-thou snootiness, I can say that the shows available on Apple TV+ are fantastic. It’s the new HBO for scripted programming, in particular in the realm of Sci-Fi. And boy oh boy, does the show Severance deliver. It’s frequently directed by none other than Ben Stiller, of all people, and geez does it show the man’s range. I knew he had a taste for impeccable cinematography given his movie The Secret Life of Walter Mitty, but Severance takes it to another level. Without spoiling anything, the basic premise is that a mysterious company has invented technology that can split an individual into both a work and non-work persona. If a thrilling tale where each new turn in the nondescript hallway reveals another mystery sounds intriguing, give this a watch.
Devil May Cry (Netflix Animated Series)
- This animated series by Adi Shankar is based on the video game series of the same name. It’s pretty good, a tale of hell’s encroachment on the mortal world. It didn’t blow me away like many of the others on this list though. The animation is fine, at times a bit over-reliant on 3d models to my taste. The narrative is workable, your usual rude anti-hero throwing out one-liners while looking badass. The soundtrack is stellar though. If you like the games, I would say this is a faithful adaption and worth the watch. Otherwise, I’d probably give this one a pass.
Sinners (Original Movie Directed by Ryan Coogler)
- This movie is incredible. It’s a vampire tale in which Mississippi delta blues and Irish folk music blend with special import. If you like horror movies at all and appreciate good music, do yourself a favor and watch this movie. I’ll say no more for fear of spoiling.
Owl House (Disney+ Animated Series)
- There is a whole genre of animated series that are purportedly for kids but nonetheless are incredibly enjoyable for adults. Shows like Gravity Falls or Infinity Train tackle complex themes but wrap them in a kid-friendly veneer. Owl House, while leaning more towards Gravity Falls than Infinity Train, is undoubtedly still in that vein. Telling the tale of a girl who wants to be a witch who finds herself in a realm where witches are everywhere, it is a fun, lighthearted story that will nonetheless pull at your emotions. If a house with an unsettling and vaguely owl-like creature named Hooty built into its walls peaks your interest, give this a watch.
How To Train Your Dragon (Live Action Movie Remake)
- Ok, I have confession. While I have ranted in the past about Hollywood’s tendency for sequels or reboots or remakes instead of original IP,https://mweald.com/2023/10/02/on-hollywood-adaptations/, I still greatly enjoyed this movie. It is essentially the animated film shot for shot, with a little bit added in here or there to fill out some of the lore. Directed by the same guy who directed the animated film, Dean DeBlois, you can tell it was shot with a love for the original material in mind. As much as it pains me to say, I enjoyed every minute. If a remake is made with this much care, I’m ok with it.

All the best,

M. Weald

P.S. The Reedsy writing class I started in January finished up a couple months back. The fantasy novel I began in the class continues to accrete words day by day, even if it’s at more of a geological pace than I was hoping for. I’ve found my writing, at least given all of the other constraints on my time, is more along the lines of a glacier pushing up earth than a tornado whipping dirt into a pile. Still, I’m hoping that analogy holds because the shaping of the earth by glaciers has certainly had a more lasting impact. The novel currently sits at ~37k words, and the goal is to finish out the rough draft before the year is out.

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