- sunspeared said: Yes, yeah, huh, this sums up every problem I had when trying to read “Nine Princes in Amber” and “The Guns of Avalon,” well past early teenagerhood.
They’re. They’re really good!! God, the prison sequence alone is worth the price of admission. Or the depiction of what happens when you get to go back and visit the kingdom you were playing Arthur in and it turns out everyone remembers you as a vicious tyrant who did whatever the fuck he wanted, hmm, maybe solipsism isn’t a valid foundation for a life no matter how much we’re all secretly gods, CORWIN!!! But they are SO much what they are… super sexist… “existentialism will go away if you say NO loud enough”… a father’s relationship with his son is the most important thing to ever happen to anyone ever… and if you can’t power through it rapidly becomes a massive drag of complete unbearableness.
Oh also while I’m posting about this again, I’ve realized what the slight weirdness in Alessandro Juliani’s reading is. It’s the same thing as when people whose dialect doesn’t have a comprehensive use of like as a discourse particle try to read the Pillowman. Or anyone who isn’t Irish actually. So Juliani’s trying really hard not to be awkward and vividly acting out how exactly Corwin would have told this story— switching registers, imitating his brothers, and he’s so great at slipping into emotion when the retelling requires it and not just when the actual dialogue requires it. Fuck. He’s such a good actor. ANYWAY, my point is that he then comes up against the seventies slang and totally falls over his feet. “what do I do with this ‘or whatever’,” you can hear him thinking. “Is this actually supposed to be in this sentence? Is this supposed to be in ANY sentence? POWER THROUGH IT, JULIANI”