Shaidrian Rios

Jimmy Beans

Julie Wynne - videos

Kapuster

angel smith

Nicky Tallon

Harini Sen

Vastralaya

Evan Shively (Perseus271)

Greg Fraser

Edgar Colt

Vitor Miguel

I could say that I love Dick, but that would be weird. I do very much enjoy Philip K. Dick's writing and though this is not one of his best, the "Pizza and Sex Rule" applies to him; ie. just as even bad pizza and / or sex is still pretty good, bad PKD is as well. And this is not bad at all. The first mistake that a new reader would make is to watch Blade Runner and expect a novelization of that film; it was LOOSELY based upon the book. I'm a big fan of the Ridley Scott film starring Harrison Ford and Rutger Hauer, but the movie diverged from Phillip K. Dick's literature early on. The book is far more bleak than the film, if you can believe that, and much more intricate and complicated. Blade Runner benefits from a simplified storyline. The author was far ahead of his time both in the complexity of his story and the perspective from which he writes. There are elements of Brave New World, I, Robot, and Dune; but the author has a unique voice and the story is an original. It is not an excellent work, as there are gaps and inconsistencies and many loose ends that are never tied in, but the concept and provocation are superb.One element of the book that was completely left out of the film was a sub-plot involving a Christ-like messiah and a faith system based upon what could have been a hoax. First published in 1968, this was one of his more theological based novels, and a trend that would continue steadily becoming more frequent and invasive until the end of his writing.A MUST read for PKD fans as well as SF/F fans period.

Brave New World is a dystopian novel by English author Aldous Huxley, written in 1931 and published in 1932. Largely set in a futuristic World State, inhabited by genetically modified citizens and an intelligence-based social hierarchy, the novel anticipates huge scientific advancements in reproductive technology, sleep-learning, psychological manipulation and classical conditioning that are combined to make a dystopian society which is challenged by only a single individual: the story's protagonist.

The launch of a middle grade fantasy trilogy set in an alternate 1870s America, where electricity is a dangerous and forbidden science, Native Americans and Yankees live side-by-side as a United Nations, and eldritch evil lurks in the shadows beyond the gaslights...Young Archie Dent knows there really are monster in the world. His parents are members of the Septemberist Society, whose job it is to protect humanity from hideous giants called the Mangleborn. Trapped in underground prisons for a thousand years, the giant monsters have been all but forgotten -- but now they are rising again as the steam-driven America of 1875 rediscovers electricity, the lifeblood of the Mangleborn.When his parents and the rest of The Septemberists are brainwashed by one of the evil creatures, Archie must assemble a team of seven young heroes to save the world.

In her first novel since winning the Newbery Medal, Katherine Applegate delivers an unforgettable and magical story about family, friendship, and resilience.Jackson and his family have fallen on hard times. There's no more money for rent. And not much for food, either. His parents, his little sister, and their dog may have to live in their minivan. Again.Crenshaw is a cat. He's large, he's outspoken, and he's imaginary. He has come back into Jackson's life to help him. But is an imaginary friend enough to save this family from losing everything?Beloved author Katherine Applegate proves in unexpected ways that friends matter, whether real or imaginary.

The Warriors series meets Redwall in this first book in an epic animal adventure series set in the subway tunnels of Brooklyn and for “fans of Erin Hunter, Brian Jaques, and Kathryn Lasky” (School Library Journal).Hopper is just an ordinary pet shop mouse before he escapes. Soon he finds himself below the bustling streets of Brooklyn, deep within the untamed tangles of transit tunnels, and in Atlantia, a glorious utopian rat civilization.But all is not what it seems. Though Hopper is treated as a royal guest, he misses his siblings that he lost in the escape attempt. That, and Atlantia is constantly threatened by the rebels who wish to bring the city to its knees. And there are cats everywhere in Atlantia, cats that leave the citizens unharmed… and no one can seem to answer why.Soon, Hopper is caught in the crosshairs of a colossal battle, one that crosses generations and species. As the clashes rage, Hopper learns terrible, extraordinary secrets: Deadly secrets about Atlantia. Painful secrets about his friends.And one powerful secret about his destiny…Learn more at Mouseheart.com!

It begins with a vicious tornado. (Odin on a Wild Hunt, as the young berserker Thorgil sees it.) The fields of Jack s home village are devastated, the winter ahead looks bleak, and a monster a draugr has invaded the forest outside of town. Soon, Jack, Thorgil, and the Bard are off to right the wrong of a death caused by Father Severus. Their destination is Notland, realm of the fin folk, though they will face plenty of challenges and enemies before get they get there. Impeccably researched and blending the lore of Christian, Pagan, and Norse traditions, this expertly woven tale is beguilingly suspenseful and, ultimately, a testament to love.

Jack is amazed to have caused an earthquake. He is thirteen, after all, and only a bard-in-training. But his sister, Lucy, has been stolen by the Lady of the Lake; stolen a second time in her young life, as he learns to his terror. Caught between belief in the old gods and Christianity (790 AD, Britain), Jack calls upon his ash wood staff to subdue a passel of unruly monks, and, for his daring, ends up in a knucker hole. It is unforgettable -- for the boy and for readers -- as are the magical reappearance of the berserker Thorgil from a burial by moss; new characters Pega, a slave girl from Jack's village, and the eager-to-marry-her Bugaboo (a hobgoblin king); kelpies; yarthkins; and elves (not the enchanted sprites one would expect but the fallen angels of legend). Rarely does a sequel enlarge so brilliantly the world of the first story. Look for the conclusion in The Islands of the Blessed in 2009.

The year is A.D. 793; Jack and his sister have been kidnapped by Vikings and taken to the court of Ivar the Boneless and his terrifying half-troll wife; but things get even worse when Jack finds himself on a dangerous quest to find the magical Mimir's Well in a far-off land, with his sister's life forfeit if he fails.Other threats include a willful mother Dragon, a giant spider, and a troll-boar with a surprising personality -- to say nothing of Ivar the Boneless and his wife, Queen Frith, a shape-shifting half-troll, and several eight foot tall, orange-haired, full-time trolls. But in stories by award-winner Nancy Farmer, appearances do deceive. She has never told a richer, funnier tale, nor offered more timeless encouragement to young seekers than "Just say no to pillaging."

When Marty Preston comes across a young beagle in the hills behind his home, it's love at first sight—and also big trouble. It turns out the dog, which Marty names Shiloh, belongs to Judd Travers who drinks too much and has a gun—and abuses his dogs. So when Shiloh runs away from Judd to Marty, Marty just has to hide him and protect him from Judd. But Marty's secret becomes too big for him to keep to himself, and it exposes his entire family to Judd's anger. How far will Marty have to go to make Shiloh his?

Alternate cover edition: 9780439709101From internationally acclaimed storyteller Cornelia Funke, this bestselling, magical epic is now out in paperback!One cruel night, Meggie's father reads aloud from a book called INKHEART-- and an evil ruler escapes the boundaries of fiction and lands in their living room. Suddenly, Meggie is smack in the middle of the kind of adventure she has only read about in books. Meggie must learn to harness the magic that has conjured this nightmare. For only she can change the course of the story that has changed her life forever.This is INKHEART--a timeless tale about books, about imagination, about life. Dare to read it aloud.

I read this book in 4th grade. One day I was waiting for class when an obnoxious boy decided it would be a good idea to take it. I informed him that it was my favorite book in the whole wide world and if he didn't give it back that he'd be sorry. He then threatened to tear the book in half. With that I walked over to him, hit him over the head with my cast (I had broken my wrist a few weeks prior), took my book and calmly walked away.I think that a book that inspires someone to violence in the 4th grade is worth reading, don't you?

I don’t think I had read “the Call of the Wild” or watched any adaptation of the book (faithful or otherwise). I’m both happy and sad about that. I’m not sure I would have appreciated it as a child, or even a young teen when I think most people come into contact with the book. It’s a fascinating and probably dangerous literary conceit to follow the adventures of a dog. The number of places such a project could go off the rails into the saccharine and annoyingly anthropomorphic has to be innumerable. I think London manages to avoid those traps fairly well. The author is limited by not being a dog, and having only a clever primate’s language, insight and empathy to describe the thoughts and feelings of a dog re-wilding. London was also limited by the science of the day. Still, London has crafted a joyous exploration of the mental life of a dog as well as occasionally describing the biology of evolution (whether he knew it or not) in deeply moving and insightful ways. His metaphor is often memory (instinct he suggests being the memory of ancestors for instance). I’m not sure I would have predicted that the dominance struggles of sled dogs (a subject that takes up a lot Buck’s time and narrative space) could be as interesting as I found it. I have no knowledge of sled dog aggression or behavior from which to draw. So the book only rarely drew my biologist’s side eye. One think London captures perfectly, and without being maudlin, is the love between dogs and owners. It takes Buck a long time to find that human to whom he is perfectly partnered. But find him he does, and it’s hard not to be moved to tears by the passages that describe the relationship between Buck and Jack. I suspect dog lovers will fail to be dry eyed. For better or worse the book is definitely a product of its time. The better is that it is incredibly evocative of geography, time and place. London paints a vivid picture of life sled dogs and drivers and the rugged often violent life in the great north. The worse is that there is a casual language of race that no modern ear will find agreeable. Having read it, I know this is a book I will read again. And what better praise can there be for a book than that?

Strange Case of Dr Jekyll and Mr Hyde is the original title of a novella written by the famous Scottish author Robert Louis Stevenson that was first published in 1886. The work is commonly known today as The Strange Case of Dr Jekyll and Mr Hyde, Dr Jekyll and Mr Hyde, or simply Jekyll &amp; Hyde. It is about a London lawyer named John Gabriel Utterson who investigates strange occurrences between his old friend, Dr Henry Jekyll, and the evil Edward Hyde.

Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. More troubling is that it is aimed at children, who don't yet have the critical faculties to defend themselves from such underhanded methods.Unsurprisingly, Lowry adopts the structure of the monomyth, equating a spiritual journey with a moral one. Her Christ-figure uses literal magic powers to rebel against his society. This rebellion and the morality behind it are presented as 'natural', to contrast with the 'abnormal morality' around him.Lowry doesn't seem to understand that we get our morality from our culture, it isn't something in-born that we 'lose'. This is the first hint of Lowry's misunderstanding of the human mind. She assumes her own morality is correct, and then builds her story to fit it.She also makes the character act and think like a modern person would, despite never adequately explaining how he came up with such unusual notions. It's the same trick many historical fiction authors use, leaving us scratching our heads as to why a Fourteenth Century French peasant speaks like a second-wave feminist. I'd suggest that Lowry falls to this fault for the same reason they do: she has no talent for imagining how others might think differently.Lowry's book ends with the standard nonspecific transgressive spiritual event that marks any overblown monomyth. Since the book is not a progressive presentation of ideas, it does not suggest any conclusion. Instead, the climax is a symbolic faux-death event (symbolic of what, none can say). Confusingly, Lowry later redacts the ending in the sequels, undermining the pseudo-spiritual journey she created.Though some call this book 'Dystopian', it's closer to the truth to say Lowry borrows elements from the Dystopian authors, attempting to combine the spiritual uplift of the monomyth with the political and social deconstruction of the Dystopia. What she doesn't recognize is that the faith of the one conflicts with the cynicism of the other. She draws on ideas and images from many other authors: Bradbury, Huxley, Orwell, Burgess, but doesn't improve upon them.These authors created novels that reflected the world around them. They based them on the political events of the times, presented with realism and careful psychology. Though they presented the struggle between the individual and the society, they portrayed morality as grey, and suffering as the result of individual human faults, not political systems. Lowry doesn't realize that the best way to critique Fascism or Communism is not to present it as 'evil', but to simply present it as it was.But Lowry's world is not based in reality, it is symbolic and hyperbolic. Instead of writing about how poverty makes the world seem small and dull, she has the characters magically unable to experience life. Instead of an impersonal government, she presents a sort of evil hippy commune. The only political system it resembles is a school, which is a neat little trick to get the kids interested. The idea that 'school=unfeeling totalitarian hell' is not an uncommon one, but it's one I'm surprised teachers would support. The book also suggests a creche, but lacking similarity to any real-world system, it doesn't work as a political criticism.Lowry creates this artificial world to suit her purposes, but it is not a symbolic exercise like 'Animal Farm'. We understand that the pigs of animal farm are symbolic, because there are no talking pigs. Lowry's world is more insidious, since its oversimplification is hidden. She builds an artificial world to support the dualist morality that she's pushing. She presents the same knee-jerk fears about euthanasia and abortion that people use against Women's Rights or Health Care.Worse than these Straw Man arguments is the fact that she never deals with the economic causes of totalitarianism. Tyrants don't just rise up and take control by their own force of will, they come into power because of the socioeconomic situations that surround them. Lean times produce strong, fascist leaders while profitable times produce permissive, liberal societies.Strong, centralized leadership simply doesn't self-propagate in cultures where everyone is clothed, fed, and housed. The Holocaust was socially about some ideal of 'change' and 'purity', but it was economically about the transmission of wealth from Jews, Poles, and Catholics to Germans (and more specifically, to those Germans who had elected the new ruling party).The atrocities of war are, for the most part, committed by normal people on other normal people. By presenting the power structure as 'amoral' and 'inhuman', Lowry ignores the fact that people will willingly cause others to suffer. Painting the enemy as 'evil' and 'alien' is just an unsophisticated propagandist method.She contrasts her 'evil' with the idealized 'goodness' of emotion, beauty, and freedom. This is nothing more than the American dream of 'specialness' that Mr. Rogers was pushing for so many years. We are all special, we are all good, we all deserve love and happiness. Sure, it sounds good, but what does it mean?Where does this 'specialness' come from? If it is just the 'sanctity of human life', then it's not really special, because it's all-encompassing. If all of us are special, then none of us are. There's nothing wrong with valuing life, but when Lowry presents one mode of life as valuable and another as reprehensible, she ceases to actually value humanity as a whole. Instead, she values a small, idealized chunk of humanity. 'People are good, except the ones I don't like' is not a moral basis, nor is it a good message to send to kids.If the specialness is only based on fitting in with a certain moral and social guideline, then Lowry isn't praising individuality, she's praising herd behavior. The protagonist is only 'special' because he has magic powers. His specialness is not a part of his character, it is an emotional appeal.The idea of being a special individual is another piece of propaganda, and its one kids are especially prone to, because kids aren't special: they are carefully controlled and powerless. Giving a character special powers and abilities and then using that character to feed a party line to children is not merely disingenuous, it's disturbing.There is also a darker side to universal specialness: giving a child a sense of importance without anything to back it up creates egotism and instability. Adults noticed that children with skills and friends had high self-esteems, but instead of teaching their children social skills and knowledge, they misunderstood the causal relationship and tried to give them self-worth first.Unfortunately, the moment unsupported self-worth is challenged, the child finds they have nothing to fall back on. Their entitlement didn't come from their skills or experiences, and so they have nothing to bolster that sense of worth. Instead, any doubt sends them down a spiral of emotional instability.A single book like this wouldn't be the cause of such a state in a child, but it does act as part of the social structure built to give a sense of worth without a solid base for that worth. People like to believe they are special, kids especially so, but being a remarkable person is not a result of belief but of actions. If the book had informed them, then it would leave them better off, but giving them a conclusion based on emotional appeals does nothing to build confidence or character.Many people have told me this book is good because it appeals to children, but children often fall for propaganda. Children develop deep relationships with pop stars, breakfast cereals, and Japanese monsters. This does not make them good role models for children.Feeding 'specialness' to kids along with a political message is no better than the fascist youth programs Lowry intends to criticize. The obsession with individuality is just another form of elitism. It's ironic that people in America most often describe themselves as individuals when pointing out the things they do to align themselves with groups.But banding together in a community is not a bad thing. For Lowry and other 'Red Scare' children, any mention of 'communal' can turn into a witch hunt, but we all give up some personal rights and some individuality in order to live in relatively safe, structured societies. There are benefits to governmental social controls and there are drawbacks, and it's up to us to walk the line between the two. Anarchy and Totalitarianism never actually exist for long: we are social animals.It's not difficult to understand why Lowry is so popular, especially amongst educators. The message she gives aligns perfectly with what they were taught as kids, from Red Scare reactionism to the hippy-dippy 'unique snowflake' mantra. These ideas aren't entirely misguided, either. It's good to recognize the benefits of difference and the dangers of allowing other to control our lives.If a reader believes that fascism and socialism are inherently wrong and that their own individuality is their greatest asset, they will likely sympathize with Lowry's work. However, this doesn't make the book honest, nor beneficial. One of the hardest things we can do as readers is disagree with the methods of authors we agree with ideologically.It makes us feel good to find authors who agree with us, but this is when we should be at our most skeptical. Searching the world for self-justification is not a worthwhile goal, it simply turns you into another short-sighted, argumentative know-it-all. 'Yes men' never progress.Lowry is toeing the party line. She does not base her book around difficult questions, like the Dystopian authors, but around easy answers. She doesn't force the reader to decide for themselves what is best, she makes it clear what she wants us to think. Her book is didactic, which means that it instructs the reader what to believe.Even if her conclusions about Individuality vs. Community are correct, she doesn't present arguments, she only presents conclusions. Like rote memorization or indoctrination, she teaches nothing about the politics, social order, economics, or psychology of totalitarianism or individuality. The reader is not left with an understanding, just an opinion.The baseless 'individuality' of the book lets the reader imagine that they are rebels--that they are bucking the system even as they fall into lock-step. By letting the reader think they are already free-thinking, Lowry tricks them into forgetting their skepticism.She is happy to paint a simple world of black and white, and this is likely the world she sees. I doubt she is purposefully creating an insidious text, she just can't see past her own opinions. She writes this book with a point to make, and makes it using emotional appeals and symbolism. She doesn't back it up with arguments because she doesn't seem to have developed her opinions from cogent arguments.In the end, she doesn't show us that the structure of this society is wrong, she says nothing poignant about individuality vs. community; instead, she relies on threats to the life of an innocent infant. Yet nowhere does she provide an argument for why communal living or the sacrifice of freedoms for safety must necessarily lead to infanticide.In politics, making extreme claims about the opposing side is called mud-slinging, it is an underhanded and dishonest tactic. It works. Arguing intelligently is difficult, accusing is easy, so that's what Lowry does.She is another child of WWII and the Cold War who hasn't learned her lesson. She quickly condemns the flaws of others while failing to search out her own. Even after the Holocaust, there are many racist, nationalist, violent Jews; conflict rarely breeds a new understanding.America condemned the faceless communal life of the Second World, and yet America created The Projects. We critiqued strong governmental controls, but we still have the bank bailout, socialized medicine, socialized schooling, and socialized charity. America condemned the Gulags and Work Camps, and yet we imprison one out of every hundred citizens; far more than Stalin ever did. Some are killed, all are dehumanized.As a little sci fi adventure, the book isn't terrible. It's really the pretension that goes along with it. Lowry cobbles together religious symbolism and Dystopic tropes and then tries to present it as something as complex and thoughtful as the authors she copied. Copying isn't a crime, but copying poorly is.Like Dan Brown or Michael Crichton, she creates a political pamphlet of her own ideals, slaps a pretense of authority on it, and then waits for the money and awards to roll in--and they did. Many people I've discussed this book with have pointed to those awards as the surest sign of this book's eminent worth.Award committees are bureaucratic organizations. Their decisions are based on political machinations. This book is a little piece of Nationalism, and so it was lauded by the political machine that Lowry supports. The left hand helps the right. If awards are the surest sign of worth, then Titanic is a better movie than Citizen Kane.What surprises me is how many of those who brought up the award as their argument were teachers. If a politically-charged administrative committee is the best way to teach children, then why do you take umbrage when the principal tells you that bigger class sizes (and fewer benefits) are fine? Listen to him: doesn't he have award plaques?The other argument is usually that 'kids like it'. I usually respond that kids also like candy, so why not teach that? Some people also get angry at me for analyzing a book written for children:"Of course it's not a great book, it's for kids! If you want a good book, go read Ulysses!"I prefer to give children good books rather than pieces of political propaganda (even if they agreed with me). Children can be as skeptical, quick-witted, and thoughtful as adults if you give them the chance, so I see no excuse for feeding them anything less. Kids aren't stupid, they just lack knowledge, and that's a fine distinction. It's easy for adults to take advantage of their naivete, their emotionality, and their sense of worth. Just because it's easier for the teacher doesn't mean it's better for the child.When we show children something that is over-simplified, presenting an idealized, crudely moralizing world, we aren't preparing them for the actual world. If you give a child a meaningless answer to repeat, he will repeat it, but he won't understand why. Why not give the child a book that presents many complex ideas, but no rote answers, and let them make up their own minds? If they don't learn how to separate the wheat from the chaff and form their own opinions early, in a safe, nurturing environment, what chance will they have on their own as adults?In all the discussions and research regarding this book, I have come across very little analysis. It's especially surprising for a book with such a strong following, but there aren't many explanations of why the book is supposed to be useful or important.This lack of argument makes sense from a political standpoint, since there is no reason to analyze the worth of propaganda: its worth is that it agrees with society and indoctrinates readers. Analyzing it would defeat the purpose; political diatribes do not stand up to thoughtful attention.Perhaps someday someone will create a thoughtful, textual analysis of this book that will point out its merits, its structure and its complexity. I've gradually come to doubt it. I never expected when I wrote my original review of this book that it would garner this much attention.I still welcome comments and thoughts, but if your comment looks roughly like this: "You should read this book again, but this time, like it more. You think you're smart but you aren't. You're mean. Lowry is great. This book won awards and kids like it. It's meant for kids anyways, why would you analyze what its about? I bet you never even read the sequels. Go read 'Moby Dick' because you are full of yourself."I've heard that one before. If you do want to comment though, you might check out this article; I find it helps me with presenting my ideas.

The story of a mentally disabled man whose experimental quest for intelligence mirrors that of Algernon, an extraordinary lab mouse. In diary entries, Charlie tells how a brain operation increases his IQ and changes his life. As the experimental procedure takes effect, Charlie's intelligence expands until it surpasses that of the doctors who engineered his metamorphosis. The experiment seems to be a scientific breakthrough of paramount importance--until Algernon begins his sudden, unexpected deterioration. Will the same happen to Charlie?

Written in his distinctively dazzling manner, Oscar Wilde’s story of a fashionable young man who sells his soul for eternal youth and beauty is the author’s most popular work. The tale of Dorian Gray’s moral disintegration caused a scandal when it ﬁrst appeared in 1890, but though Wilde was attacked for the novel’s corrupting inﬂuence, he responded that there is, in fact, “a terrible moral in Dorian Gray.” Just a few years later, the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wilde’s homosexual liaisons, which resulted in his imprisonment. Of Dorian Gray’s relationship to autobiography, Wilde noted in a letter, “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps.

Scottish-born American naturalist and author (1838-1914)

George Orwell's timeless and timely allegorical novel—a scathing satire on a downtrodden society’s blind march towards totalitarianism.“All animals are equal, but some animals are more equal than others.”A farm is taken over by its overworked, mistreated animals. With flaming idealism and stirring slogans, they set out to create a paradise of progress, justice, and equality. Thus the stage is set for one of the most telling satiric fables ever penned—a razor-edged fairy tale for grown-ups that records the evolution from revolution against tyranny to a totalitarianism just as terrible.  When Animal Farm was first published, Stalinist Russia was seen as its target. Today it is devastatingly clear that wherever and whenever freedom is attacked, under whatever banner, the cutting clarity and savage comedy of George Orwell’s masterpiece have a meaning and message still ferociously fresh.

The terrifyingly prophetic novel of a post-literate future.Guy Montag is a fireman. His job is to burn books, which are forbidden, being the source of all discord and unhappiness. Even so, Montag is unhappy; there is discord in his marriage. Are books hidden in his house? The Mechanical Hound of the Fire Department, armed with a lethal hypodermic, escorted by helicopters, is ready to track down those dissidents who defy society to preserve and read books.The classic dystopian novel of a post-literate future, Fahrenheit 451 stands alongside Orwell’s 1984 and Huxley’s Brave New World as a prophetic account of Western civilization’s enslavement by the media, drugs and conformity.Bradbury’s powerful and poetic prose combines with uncanny insight into the potential of technology to create a novel which, decades on from first publication, still has the power to dazzle and shock.--back cover

At the dawn of the next world war, a plane crashes on an uncharted island, stranding a group of schoolboys. At first, with no adult supervision, their freedom is something to celebrate; this far from civilization the boys can do anything they want. Anything. They attempt to forge their own society, failing, however, in the face of terror, sin and evil. And as order collapses, as strange howls echo in the night, as terror begins its reign, the hope of adventure seems as far from reality as the hope of being rescued. Labeled a parable, an allegory, a myth, a morality tale, a parody, a political treatise, even a vision of the apocalypse, Lord of the Flies is perhaps our most memorable novel about “the end of innocence, the darkness of man’s heart.”

A cozy management game about dying. What will you leave behind? Play as Stella, ferrymaster to the deceased, a Spiritfarer. Build a boat to explore the world,...

The game involves players creating and destroying various types of blocks in a three dimensional environment. The player takes an avatar that can destroy or cre...

It's a lovely morning in the village and you are a horrible goose. Untitled Goose Game is a slapstick-stealth-sandbox, where you are a goose let loose on an uns...

A bold new era of the award-winning Life is Strange begins, with an all-new playable lead character and a thrilling mystery to solve! Alex Chen has long suppre...

Life is Strange is a hand drawn work of art and every action enacts a butterfly effect - but with the power to rewind time, what would you change? And would it...

Hollow Knight is a 2D action-adventure game with an emphasis on traditional 2D animation and skillful gameplay. Journey to Hallownest, a vast and ancient underg...

Oxenfree is a supernatural thriller about a gaggle of friends who inadvertently open a ghostly rift. You assume the role of Alex, and you’ve just brought your...

Stardew Valley is an RPG-style farming game. It's up to you to choose your path... Will you devote your time to raising crops and caring for animals? Will you s...

Defy the god of death as you hack and slash your way out of the Underworld in this rogue-like dungeon crawler from the creators of Bastion and Transistor....

A mysterious voice beckons Link to challenge the Divine Beast Tamer's Trials. He must now prove himself by defeating enemies using the On...

Nerdy, reserved bookworm Needy Lesnicki, and arrogant, conceited cheerleader Jennifer Check are best friends, though they share little in common. They share even less in common when Jennifer mysteriously gains an appetite for human blood after a disastrous fire at a local bar. As Needy's male classmates are steadily killed in gruesome attacks, the young girl must uncover the truth behind her friend's transformation and find a way to stop the bloodthirsty rampage before it reaches her own boyfriend Chip.

In a time of superstition and magic, when wolves are seen as demonic and nature an evil to be tamed, a young apprentice hunter, ROBYN, comes to Ireland with her father to wipe out the last pack. But when Robyn saves a wild native girl, MEBH, their friendship leads her to discover the world of the WOLFWALKERS.

2020 film directed by Tomm Moore and Ross Stewart

Twenty years after modern civilization has been destroyed, Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

American TV series based on the video game The Last of Us

movies

shows

books

games

podcasts

Active tastebuds