do not know if I got tired of the game alienizzazione the context that is now his trademark. I do not know if they are affected to the negative effect known as "reading Keibol Black." The fact is that the latest work by Martin left me quite cold, his manner deliberately stripped-down it seemed too bare, too hasty. Playlove is a story of betrayed love that has nothing really strange or sick, or extreme ( except for the brackets in the room where the two men deepen their knowledge, but there is just some flash ). I will say it is not necessary. It 's true.
The problem then becomes twofold: first Playlove is too simple a story, which tends toward a final twist that's almost impossible not to expect. The same plot twist is too much "snap" with the rest of the story: too many exploits of the characters hitherto described, seems excessively "decided to table".
Second, a story flat, rather than "normal" rather than classic, made with cold and alienating the canons of our designs, produces, at least in me a feeling of detachment. As if they had used the wrong tools or materials to build it. Last
( and maybe least), I was annoyed at the "where the streets have no name": the citation of U2 thrown in, out, that whale as background music in two scenes, for no reason (to unless, of course, that I have not missed something ). I will say, because there must be a reason? Well, just because it is there, stands on the cover . If all other bricks of the story are strictly functional to the narrative, as (it must be said ) is a little habit of Martin, it seems strange that the same logic is not kept for one thing conventionally ( often more of the same title) as the subtitle. For a review
( and an opinion opposite to my ): here.
