Showing posts with label Mock FMP. Show all posts
Showing posts with label Mock FMP. Show all posts

30 March 2012

Verity Quinn




Verity Quinn is a theatre designer and director, working across devising, design and making. She works with all forms of puppetry, often in the process of designing the visuals for a production. Verity has a special interest in ensemble theatre making and object theatre in non-traditional theatre spaces.
Verity is co-artistic director of Left Luggage Theatre. See www.leftluggagetheatre.co.uk for more details.
Verity trained at Nottingham Trent where she received a First Class Honours in Theatre Design. More recently she has worked with Vamos Theatre, Northern Stage, Magnetic Events and Culture10, Laura Lindow and The Empty Space.



3 March 2012

Ideas for Stink Monster and River God









This creature is thought to be a stink monster but Sen and Rin clean it and found out that it is a river spirit and rewards them greatly for their help. 
 I was thinking of have the river spirit flying out of the stink spirited by the river spirit being hidden inside. 



2 March 2012

Experiments for Mock FMP

Kamajii Latex Mould
Ban Dai - gauru Latex Mould
Kashira Latex Mould
Okusare (Stink Sprit) Latex Mould
For these I made clay moulds and covered them in liquid latex. I have tried different ways of making the heads using these.


Yu - Baaba Paper-Mache Head
Ban Dai - gauru Paper-Mache Head

Kashira Paper-Mache Head

These were made from a mix of kitchen paper, glue and water. They went it to the moulds easily and they looked like they would work but they shrunk and dis-formed. I looked at a book I borrowed and it spoke about plastic wood.
Kamajii Plastic Wood Head

Kashira Plastic Wood

Ban Dai - gauru Plastic Wood

This technique worked very well but plastic wood is made from acetone and smells dreadful. 

29 February 2012

Puppet Techniques

I took a book from the library about making puppets and it said that I can make a puppet head by using plastic wood. I have bought some of this from here and I want to see how it goes. 

I was looking on Youtube at using Plastic Wood and found this video that I really liked.


28 February 2012

Characters I'm turning into Puppets

Yu-Baaba
Rules over the bathhouse with an iron fist. She loves money and her big baby. She hates her twin sister and abiding to the rules.



Kaonashi (No-Face)
A masked, cloaked spirit who feeds on the emotions of others. He becomes a gluttonous beast when in the bathouse then reverts to a lonely spirit upon leaving.



Kamajii
Six armed, friendly old man who casts a spell on soot which allows them to grow legs and help run the bolier room.



Bandai-gaeru
One of many male frog workers in the bathhouse. He's a bit of a suck up and a taddle-tale.



Kashira
Three magical bouncing/rolling heads. They express themselves through grunting.



Kawa no Kami (River God)
A traditional river god. He's a customer at the bathhouse.






Okusare (Stink Spirit)
A stink spirit that owns up to his name. He is very sluggish and leaves dirt and sludge behind as he walks. Did I mention plants die from the stench?


I have watched film and it has reminded me that the Stink Spirit and the River God are the same creature. Everyone think that Okusare (Stink Spirit) is a Stink Spirit but actually Sen finds what is thought to be a thorn in his side, everyone starts pulling the thorn and find out that it is a bicycle handle. When they pull this out after that comes out lots of rubbish that people throw into rivers. Okusare is actually a polluted river and turns out to be Kawa no Kami River God.

Spirited Away

I have spoke to Jon and I worked out that I am going to make puppets for the film 'Spirited Away'. I got to this because I thought about Animal Farm and dystopia. In Animal Farm there are pigs, in Spirited Away Chihiro's parents get turned into pigs and the world is run by an evil witch. I was reminded of the film through these examples.

Spirited Away Poster

Chihiro and her family are on their way to their new house in the suburbs when her father decides to take a shortcut along a lonely-looking dirt road. After getting out of the car and walking along a path for a while, they discover an open-air restaurant filled with food but with no workers or customers present. Mom and Dad don't hesitate to sit down and dig in, but Chihiro senses danger and refuses. As night falls, she is terrified to see the area fill with faceless spirits, but when she runs to find her parents, she discovers that they have been turned into pigs. She is found by a mysterious boy named Haku, who promises to help her. He gets her a job working in a nearby building, which turns out to be a bathhouse for the thousands of Japan's gods and spirits. Though the work is hard and the people strange, she does as well as she can. Her parents, however, are still waiting in the hotel's stockyard, and Chihiro must find a way to break the spell on them before they end up as the main course of some guest's dinner.


I want to use this films characters to make puppets, I think that the visual can't really be changed so my project is going to be all about investigating techniques and materials to make these puppets. I will watch the film tonight to remind myself of what happens. 

27 February 2012

Wall-e

Jon said to look at Disney films and see if any had the same themes as The Declaration Books. I look on Google and found this article. Jon also said that I could look into making puppets. I like this idea so will make puppets for the project.

Wall-E is an eco-dystopian gem — an anti-consumption movie (from Disney!)


Disney/Pixar’s new hit Wall-E is easily one of the best movie dystopias ever. It ranks with Blade Runner, Brazil, A Clockwork Orange, Mad MaxBeyond Thunderdome, the Matrix, Planet of the Apes, Soylent Green, and the first two Terminator movies.
Yes, Hollywood loves dystopias. Perhaps because it is one (okay, technically it is ananti-utopia).
One is that we can expect to see more environmental dystopias as the painful reality of global warming becomes more and more obvious to all. Wall-E makes clear that even the most brutal satire of our self-inflicted environmental predicament can be a box office success, if it is well done. The second reason is the incredible irony of Disney making this movie.
As a film it is superb, a must see for children and adults. Critically acclaimed, it received a rare 97% on Rotten Tomatoes. The New Yorker‘s tough-to-please David Denby writes:
This may be the only major movie ever made that is both a dystopia and anti-utopia. In the dystopic first half, we see a lifeless post-eco-apocalyptic Earth overrun by toxic garbage, which is collected and compacted by our robotic hero, WALL-E (Waste Allocation Load Lifter-Earth-Class). WALL-E has become sentient by collecting and studying the waste of humanity, including an old tape of the movie Hello Dolly he plays over and over again.
In the anti-utopic second half, the megacorporation Buy ‘N Large had created a seeming paradise for humans on board “Executive Starliners” where every task has become automated. But hundreds of years after what was supposed to be a brief exodus while Earth was cleaned up, humans have become “a flabby mass of peabrained idiots who are literally too fat to walk.” These lazy, overweight video-addicts — whoever could the moviemakers be talking about? — are less human than WALL-E.
Though criticized by some conservatives as anti-capitalist, WALL-E is perhaps best described as one of the most anti-consumption movies ever made. That’s why even Michael Gerson, a Former Bush speechwriter known for his evangelical moralism, loved the movie and saw it as a daring attack on “a culture of consumption.”
As much as I loved the movie, I did find an odd disjunction….
Yes, the movie is a brutal satire on “self-involved consumption.” But if we are looking at who in the world is responsible for self-involved consumption, for the global homogenization of mass consumerism, for instigating the shop-until-you-drop culture at an early age, surely Disney itself would be on the short list.
Indeed, you can go to Amazon.com and find lots of mass consumer junk delightfulWall-E toys. For a mere $63.99 plus shipping and handling, you can indoctrinate buy your prospective mass consumer precocious child a U Command Wall-E (featured above), which is the 28th most popular Toy on amazon.
[I am happy to say my child (so far) only owns one of the top 50 most popular Toys & Games -- LeapFrog® Learn & Groove® Musical Table, which is not at all junk and in fact quite educational and hopefully we will hand it down to someone else's child blah, blah, blah.]
Our culture is going to undergo a remarkable transformation over the next few decades. Either we will proactively embrace an efficiency, conservation, and clean energy revolution starting in the first term of the next president. Or a culture of scarcity will be forced upon us sometime during Planetary Purgatory (see “Anti-science conservatives must be stopped“). I am not so rosy-eyed as to see the former as a utopia, but the latter will most certainly be a dystopia grim as any ever envisioned.





In a distant, but not so unrealistic future, where mankind has abandoned earth because it has become covered with trash from products sold by the powerful multi-national Buy N Large corporation, WALL-E, a garbage collecting robot has been left to clean up the mess. Mesmerized with trinkets of Earth's history and show tunes, WALL-E is alone on Earth except for a sprightly pet cockroach. One day, EVE, a sleek (and dangerous) reconnaissance robot, is sent to Earth to find proof that life is once again sustainable. WALL-E falls in love with EVE. WALL-E rescues EVE from a dust storm and shows her a living plant he found amongst the rubble. Consistent with her "directive" EVE takes the plant and automatically enters a deactivated state except for a blinking green beacon. WALL-E, doesn't understand what has happened to his new friend, but true to his love, he protects her from wind, rain, and lightning, even as she is unresponsive. One day a massive ship comes to reclaim EVE, but WALL-E, out of love or loneliness hitches a ride on the outside of the ship to rescue EVE. The ship arrives back at a large space cruise ship, which is carrying all of the humans who evacuated Earth 700 years earlier. The people of Earth ride around this space resort on hovering chairs which give them a constant feed of TV and video chatting. They drink all of their meals through a straw out of laziness and/or bone loss, and are all so fat that they can barely move. When the auto-pilot computer, acting on hastily given instructions sent many centuries before, tries to prevent the people of Earth from returning, by stealing the plant, WALL-E, EVE, the portly captain, and a band of broken robots stage a mutiny.


source
I have watched Wall-e in the past and I don't think it would be a good film to make into a puppet show, so I'm going to ask Jon tomorrow what he suggests. 

Animal Farm

Animal Farm

I watched this in year ten and didn't really like it then, the Pigs taking over the place. I can't remember very much so I'm just reminding myself what happens in it because I might use this as the play for my mock FMP.

Plot Overview

O ld Major, a prize-winning boar, gathers the animals of the Manor Farm for a meeting in the big barn. He tells them of a dream he has had in which all animals live together with no human beings to oppress or control them. He tells the animals that they must work toward such a paradise and teaches them a song called “Beasts of England,” in which his dream vision is lyrically described. The animals greet Major’s vision with great enthusiasm. When he dies only three nights after the meeting, three younger pigs—Snowball, Napoleon, and Squealer—formulate his main principles into a philosophy called Animalism. Late one night, the animals manage to defeat the farmer Mr. Jones in a battle, running him off the land. They rename the property Animal Farm and dedicate themselves to achieving Major’s dream. The cart-horse Boxer devotes himself to the cause with particular zeal, committing his great strength to the prosperity of the farm and adopting as a personal maxim the affirmation “I will work harder.”
At first, Animal Farm prospers. Snowball works at teaching the animals to read, and Napoleon takes a group of young puppies to educate them in the principles of Animalism. When Mr. Jones reappears to take back his farm, the animals defeat him again, in what comes to be known as the Battle of the Cowshed, and take the farmer’s abandoned gun as a token of their victory. As time passes, however, Napoleon and Snowball increasingly quibble over the future of the farm, and they begin to struggle with each other for power and influence among the other animals. Snowball concocts a scheme to build an electricity-generating windmill, but Napoleon solidly opposes the plan. At the meeting to vote on whether to take up the project, Snowball gives a passionate speech. Although Napoleon gives only a brief retort, he then makes a strange noise, and nine attack dogs—the puppies that Napoleon had confiscated in order to “educate”—burst into the barn and chase Snowball from the farm. Napoleon assumes leadership of Animal Farm and declares that there will be no more meetings. From that point on, he asserts, the pigs alone will make all of the decisions—for the good of every animal.
Napoleon now quickly changes his mind about the windmill, and the animals, especially Boxer, devote their efforts to completing it. One day, after a storm, the animals find the windmill toppled. The human farmers in the area declare smugly that the animals made the walls too thin, but Napoleon claims that Snowball returned to the farm to sabotage the windmill. He stages a great purge, during which various animals who have allegedly participated in Snowball’s great conspiracy—meaning any animal who opposes Napoleon’s uncontested leadership—meet instant death at the teeth of the attack dogs. With his leadership unquestioned (Boxer has taken up a second maxim, “Napoleon is always right”), Napoleon begins expanding his powers, rewriting history to make Snowball a villain. Napoleon also begins to act more and more like a human being—sleeping in a bed, drinking whisky, and engaging in trade with neighboring farmers. The original Animalist principles strictly forbade such activities, but Squealer, Napoleon’s propagandist, justifies every action to the other animals, convincing them that Napoleon is a great leader and is making things better for everyone—despite the fact that the common animals are cold, hungry, and overworked.
Mr. Frederick, a neighboring farmer, cheats Napoleon in the purchase of some timber and then attacks the farm and dynamites the windmill, which had been rebuilt at great expense. After the demolition of the windmill, a pitched battle ensues, during which Boxer receives major wounds. The animals rout the farmers, but Boxer’s injuries weaken him. When he later falls while working on the windmill, he senses that his time has nearly come. One day, Boxer is nowhere to be found. According to Squealer, Boxer has died in peace after having been taken to the hospital, praising the Rebellion with his last breath. In actuality, Napoleon has sold his most loyal and long-suffering worker to a glue maker in order to get money for whisky.
Years pass on Animal Farm, and the pigs become more and more like human beings—walking upright, carrying whips, and wearing clothes. Eventually, the seven principles of Animalism, known as the Seven Commandments and inscribed on the side of the barn, become reduced to a single principle reading “all animals are equal, but some animals are more equal than others.” Napoleon entertains a human farmer named Mr. Pilkington at a dinner and declares his intent to ally himself with the human farmers against the laboring classes of both the human and animal communities. He also changes the name of Animal Farm back to the Manor Farm, claiming that this title is the “correct” one. Looking in at the party of elites through the farmhouse window, the common animals can no longer tell which are the pigs and which are the human beings.
 
 
 
 
 

 

26 February 2012



As children, Ruth, Kathy and Tommy, spend their childhood at a seemingly idyllic English boarding school. As they grow into young adults, they find that they have to come to terms with the strength of the love they feel for each other, while preparing themselves for the haunting reality that awaits them. Written by Fox Searchlight Pictures




"The film first started at Hailsham School and all the children were wearing all grey smart clothes, like uniforms but they weren't all wearing the same clothes and none of the children had any colour on their clothes. The teachers were in smart clothes that were a bit dreary but had colour in them. 
Later on in the film the Tommy, Ruth and Cathy (old Hailsham students) wore quite old clothes, some would say vintage. They were quite muted colours but they had colour in them and they were worn with a mismatch style."

I have found this article explaining more about what the costume designers, Racheal Fleming and Steven Noble wanted the audience to see in the costumes.


Never Let Me Go: Crafting the costumes for a timeless look

Mark Romanek is the director of "Never Let Me Go," starring Keira Knightley, Andrew Garfield, and Carey Mulligan. The film, which based on Kazuo Ishiguro's novel, is being released by Twentieth Century Fox on September 15, 2010.
“This was a very challenging film for costumes,” comments costume designer Steven Noble, “because it is set in a parallel universe that needed to reflect the recent past, from the 70s to the 90s, while also looking completely timeless.  That’s not an easy line to walk.”  

Noble, along with costume designer Rachael Fleming, used a lot of second-hand clothing, the kind of well-worn, vaguely eccentric items one might find hanging in a hidden corner of a thrift shop.  They also asked a variety of British boarding schools to send them old uniforms, from which they forged the mismatched hodgepodge of the Hailsham outfits.  “The children have no need to identify themselves or their school so the outfits are very plain and simple, with no emblems, stripes or badges of any kind,” explains Fleming.  “Any sense of style they have comes only from what tiny glimpses they’ve seen of the outside world.”  

Meanwhile, the teachers wear what Noble calls “tweedy chic.”  “We used 60s silhouettes but in tweeds which manages to look period without really being from a specific date and place,” he says.  

A different England 

In the end, the team created an England that is not quite like any other England ever seen at the movies. “This is not a lush evocation of England,” Romanek remarks.  “There are no shiny, new objects in the film.  Everything is faded and worn and hand-me-down.  This is where the idea of Wabi Sabi came in. There is always a sense of time ticking, ticking, ticking.  We were careful to put clocks and watches in nearly every scene, because the story is so much about the passage of time and the preciousness of time.  We tried to do that with sound design as well – it’s not just clocks that mark the passage of time but the wind and rhythms of nature as well.”  

Seeking Ishiguro's approval

When the film was completed, the filmmakers put all of its elements, from the costumes to the photography to the performances, through a final test:  showing it to Ishiguro.  Recalls Romanek:  “There was tremendous trepidation and anxiety when we showed him our first rough cut.  We were all waiting for him outside and . . .  he really seemed to love it.  He had some constructive comments but he seemed thrilled.  That was a massive relief.  We set out to make this movie because of how much we loved and respected his novel – yet we knew the film also had to have its own life independent of that novel.  It was gratifying to feel that we had — in his estimation — been true to his novel while allowing the story to become its own experience for a movie audience.”  

Concludes Ishiguro:  “I hope audiences start off thinking this is a strange, eerie film about peculiar people; but as the film goes on, I hope they see it is a story about all of us, so that the sense of recognition gets stronger and stronger until, finally, what Kathy, Tommy and Ruth are going through is what we all go through in life.”  


Filming

Never Let Me Go was given a production budget of US$15 million.[23] Principal photography for the film started in April 2009 and lasted a few weeks. Production design was done by Mark Digby, and Adam Kimmel was assigned to cinematography. The commercial director was Duncan Reid, who works for Ingenious Media,[24] and the film was shot by crewmembers of the English company DNA Films.[25] On 8 May 2009, the production moved to Norfolk for filming. The beach at Holkham is also featured in the film. Knightley previously shot scenes at nearby Holkham Hall for her 2008 film The Duchess.[26] A location on Hill Road In Clevedon was used, and a shop was converted into a travel agency. They also filmed on the beach and the Victorian pier in Clevedon. The pier is featured on the film poster and the cover of the rereleased book. A large property on the Bexhill-on-Sea seafront was used on 12 and 13 May 2009 to act as the exterior for the residence of Madame, where Tommy and Kathy go to apply for a deferral.
Andrew Melville Hall in the University of St. Andrews was the setting for the Dover Recovery Centre.[25] Nearly thirty film extras, film producers, and location scouts had to wait several hours for the sun to set so they could film the scenes there.[25] The restaurant scene, which is featured in the trailer and in promotional screenshots, was shot in the Regent Restaurant and Coffee Lounge in Weston-super-Mare in April 2009.[27] Chiswick Town Hall, a dark building in London, was also used as a shooting location. The scenes where the Hailsham assemblies were held was filmed at a school inSnaresbrook, called Forest School, in May 2009.[4] Ham House, Richmond, was used for filming the exterior shots of Hailsham School.

24 February 2012

I went to watch a play, by Maison Foo, a couple of weeks ago the play was called 'Memoirs of a Biscuit Tin'. 


I was really interested in the set because the set were seen as other other characters. One part of the play the lamp stand, flower table and coat stand were seen as man and the three main characters (wall, floor and chimney) dance with them. 
The costumes in the show were quite simple Floor was wearing a grey quite baggy costume and sometimes wore a rug, Wall wore a stripy costume that had fabric that looked like it was peeling off her and Chimney wore a dress but looked better than Wall. All the costumes are grey and dusty looking same as the set.









I need to look at more shows like this and get inspiration for the show I will be finding. I am looking at making the show I choose capable of being a touring theatre and making the set inspired by this one and others.

Brazil (1985) 

In a highly structured and bureaucratic state, the government has installed extreme and highly counterproductive measures for which to track down terrorists. A "bug" in the system mixes up the last name of a terrorist (Tuttle) and an innocent man (ironically enough Buttle). Thus, the wrong man (Buttle) is arrested and killed while Tuttle continues to roam free. Sam Lowry, an average man with a mother who "knows people", is assigned to investigate the error. At the same time, Jill layton, Buttle's neighbor, is trying to report the mistake to authorities. Due to the extremely inefficient bureaucracy, she finds the process to be very tedious. Meanwhile, Sam Lowry, who has been dreaming about Jill, gets sidetracked by his fantasies and ends up also being a victim of the counter productivity of the government. Written by buttermilk
I watched this film and became very confused about the situation the world was in. I watched a documentary about the film and the people who made the film couldn't explain why it had been and why it was even called 'Brazil'. I do understand that it is a film where everything is run by the government and if something goes wrong in 'information retrieval' the public suffer. I think I would watch this film again.

23 February 2012



If you had the choice between living forever and never having children, or living for the natural term of your life and having kids, which would you choose? A gripping, powerful, move-you-to-tears dystopian novel.

Anna Covey is a 'surplus'. She should not have been born. In a society in which aging is no longer feared, and death is no longer an inevitability, children are an abomination. Like all surpluses, Anna is living in Grange Hall and learning how to make amends for the selfish act her parents committed in having her.

She is quietly accepting of her fate until one day when a new inmate arrives- a boy, who claims to know her parents. Anna's life is thrown into chaos. Is she brave enough to believe this mysterious boy?

A tense and utterly compelling story.

About Gemma Malley
Gemma Malley lives in South London and this is her first book for a teenage audience. She is already working on her second novel.

Review: A compelling read, if you've ever wondered why people make the choices they do about becoming a parent or not, this is a great insight. Plus a thought provoking view on what is like to be an orphan.



The Declaration

Anna Covey is a ‘Surplus’. She should not have been born. In a society in which ageing is no longer feared, and death is no longer an inevitability, children are an abomination.
Like all Surpluses, Anna is living in a Surplus Hall and learning how to make amends for the selfish act her parents committed in having her. She is quietly accepting of her fate until, one day, a new inmate arrives. Anna’s life is thrown into chaos. But is she brave enough to believe this mysterious boy?
A tense and utterly compelling story about a society behind a wall, and the way in which two young people seize the chance to break free.
My Feelings on The Declaration 
I first read this book a few years ago after reading a review in a magazine. I honestly could not put it down. This is a story that you could see becoming reality. The characters are interesting and believable. I couldn't wait for the next story. I just had to know what had happened to Anna and Peter after escaping from Grange Hall and becoming Legals. 
This book is the starting point for my project. The world has become a place where the Authorities and Pincent Pharma controlled the world, because of Longevity drugs and the dwindling food and energy supplies. People have been brainwashed into believing that no one should die apart from children that were born because of Underground people and Opt Outs.  A lot of this book Anna wrote diary extract and it showed her thoughts and feelings through that. 

The gripping story of two young people rebelling against a world which values immortality over happiness...

The year is 2140.

Peter and Anna are now living on the Outside as Legals. Impatient to see action as an agent in the Underground, Peter is tasked by Pip, its charismatic leader, to infiltrate Pincent Pharma Corporation and find out what's going on in the secret Longevity programme.

Peter must feign a reconciliation and win the trust of his grandfather, the powerful Richard Pincer, whose company, Pincent Pharma, is chasing the holy grail of modern science- a drug that will reverse ageing and make people look young again. 

But his grandfather has his own plans for Peter- plans which involve Peter and Anna signing the Declaration and endorsing Longevity +. Richard Pincer will stop at nothing to get what he wants, even if it means ripping peter and Anna's new life apart. 

"A chilling look at a dystopian future with echoes of Aldous Huxley's Brave New World. Brilliant"- InStyle Magazine. 

Gemma Malley studied Philosophy at Reading University before working as a journalist. She edited several business magazines and contributed regularly to Company Magazine and the Sunday Telegraph before moving into the civil service in a senior communications role at Ofsted. The Declaration, her first novel for a teenage audience, was published to critical acclaim. The Resistance is the sequel. She lives in South London.

The Resistance

The year is 2140. Peter and Anna are now living on the Outside as Legals. As an agent in the Underground, Peter is tasked with infiltrating Pincent Pharma Corporation and find out what’s happening in the secret Longevity programme. Peter must feign a reconciliation and win the trust of his grandfather, Richard Pincent, one of the most powerful men on the planet, whose company, Pincent Pharma, is chasing the holy grail of modern science – a drug which will reverse ageing and make people look young again.
But his grandfather has his own plans for Peter – plans which involve Peter and Anna signing the Declaration and endorsing Longevity+. Richard Pincent will stop at nothing to get what he wants, even if it means ripping Peter and Anna’s new life apart.
At the heart of the organisation he most despises, Peter stumbles across something more sinister than he could ever have imagined, as powerful forces are gathering to crush the young couple’s dreams.

My thoughts on The Resistance:
This book isn't wrote in the same style as 'The Declaration' because there aren't is probably one diary extract but it is just as good. Lots of tradgedy but there is hope in the end. 

When a Pincent Pharma lorry is ambushed by the Underground, its contents come as a huge surprise - not drugs but corpses in a horrible state. 

It appears Longevity isn't working and the drugs that are supposed to guarantee eternal youth are failing to live up to their promise.

A virus is sweeping the country, killing many in its wake, and Longevity is powerless to fight it. When Richard Pincent of Pincent Pharma suggests that the Underground has released the virus, something has to be done to alert everyone to the truth and put the story straight once and for all.
source

My thoughts on The Legacy:

This is another book that you can't put down. I started it Friday night and had finished it Saturday night. This book is the last in the series, it has a unsuspecting twist and I think the ending is a good one. You aren't left without knowing what happens like in some books.