Jean, 39, lover of sci-fi, horror and fantasy, reader of comic books, conqueror of genre fiction.
I read this earlier this year, for the romance bingo, or tried to. It was a pleasant enough read, but only that; there was absolutely nothing that made it exception or even all that romantic or erotic for me. It was actually boring. I went through a slump right after, or else I would have just finished the damned thing, but I couldn't even get myself to do that. I probably would have ended up giving it three stars. Maybe that'd have been too generous for as ambivalent as I was to this book. And ambivalence seems like the perfect description. The cover and the title wrote a check that the novel itself just could not cash. I wanted fun, I wanted absurd--it certainly was the latter, but in a dull sort of way.
Oh, so much better than the first volume! If still... Sighs. Star Wars has a problem, and it sort of always has, but I've never noticed it the way I have with recent books and other media. And that's the fascination with the "true believer" Imperial. And I'm just not interested in how cool a fucking fascist they are. There's a difference between a good villain, and one I'm supposed to drool over. But the story's moving better, and I like Threepio's involvement, even if he seems a bit out of character.
For the longest time, I meant to update that, if you are going to directly criticize Tolkien for his use (or lack thereof) of women in his books, you have to do better. And while I think Carey still isn't up to the level with any of her characters as an Eowyn or, certainly, a Galadriel, I do slightly take it back now, because Lilias became a lot more interesting when she gained a semblance of self-reflection. ( And I'm told that Cerelinde gets insane character development in the next book, which the character that she is an analog for, Arwen, never does.)
It still bothers me that Lilias is a combination of Saruman and Galadriel and got her power from a male dragon. Also, Carey has a fully anti-Elf--excuse me Ellylon--agenda, which I have issues about all on their own, and will make my eventual review.
I'm really liking the new run on Daredevil--liking, but not loving, not yet. It's all been very surface level so far on Matt's character, and I want to see more, especially with all of the changes he's gone through.
Supersonic shows that the stories are too short, and pass too quickly; this very slim volume contains no less than four separate stories. The first is Elektra's, and of course I loved that, because it's Elektra, but neither character is really explored. Matt finds out that he might have a daughter, but the idea is mulled over once and dismissed, and then, as I knew from the beginning, proved false. And it passes in two issues. Hints abound on how/who made Matt's identity disappear, and... I'm fairly spoiled for the upcoming storyline, so... there's that.
The same goes with the team-up with Spider-Man: two and done. Not to say it isn't enjoyable, and Peter struggling with how and why he might trust Daredevil would have been interesting in more depth. As it is, I think it's the only person so far that Matt's confessed that he made his secret identity go away to, and that in of itself shows his friendship with Peter. But I want more.
The annual with Echo: Pure win. I loved it, loved the art, am so happy to see Maya make her return. There were small details that made me happy, like Matt always remembering to face her when he's speaking.
The one-shot about Gladiator: Oh, Melvin, what have they done to you? LOL! Meh, weakest thing in the collection.
Dark Art provides a more complete story, and so I liked it better. The Medusa cameo and the inclusion of the Inhumans, I really liked, and the villain was suitably awful. I can't help but feel like Blindspot takes the comic over and I know more about him than I do Matt's state of mind at this point, and that bums me out.
But I really like it. I like Soule's writing, as always. Would really like to see him really get his teeth into Matt.
Next volume's on hold at the library; I think it releases in August!
And now I'm running to catch up on reviews, both reading and writing!
The Fourth was... the Fourth; I live in the South now, so you never know if it's fireworks or someone shooting off guns. We stay inside either way. But it was a couple of days later that marked one year since my brother passed away very prematurely from cancer. It's been tough; our little family was reduced to just my sister and me. Needless to say, the spirit to read sort of fled.
Though I have been reading through a ton of graphic novels and trade paperbacks. I feel fairly confident in naming this THE SUMMER OF DAREDEVIL.
Hopefully, I'm getting back in the swing of things. We've gotten immensely good news lately, in that Scholastic just purchased my sister's second novel (w00t! Publishing date currently set for Spring or Fall of 2019!) with the option to purchase another. We're beyond thrilled obviously!
So, I'm going through a rough patch mentally, which mental illness will do, but there are great things on the horizon. Thank God, frankly, LOL!
It was fine. Much, much more typical a supernatural story than the Fox Children, with a nice building of suspense, of mystery. But the resolution felt more like modern American fantasy fiction, and left me with an overwhelming sense of 'eh.' And Geralt's stance on love seems INCREDIBLY out of character, considering his feelings for Yen and even Triss. Which bothered me because, yeah, these were meant for fans of the games, and it was released before the third one, which means that yen hadn't been properly introduced yet. But that shouldn't have made a difference; most fans know the lore, and even if they don't, it's a misrepresentation of the character. I kept waiting for him to break through it and say something about Yennefer, but he remained stalwart and... eh. A fun read, but nothing more than that.
Just a much, much better book than the first in this series, in terms of pacing, story and character. One of my biggest complaints was how Clare seemed unable to blend the main storyline in the first with the romantic storyline, and they both fought for dominance while it seemed like two whole books slapped together. They're interwoven perfectly this time, with the relevance to the main action apparent.
Clare also willfully defies expectations, subverts what was seemingly put in place in Lady Midnight. The thing is, I didn't always love what she subverts it for. Ever since Sarah J. Maas got popular, it seems like it's ALWAYS THE FAIRIES nowadays. Not that this is unknown to Clare; the Seelie Court makes a HUGE impact on The Mortal Instruments, but since the first book started as more of a Gothic tale of magic and unfulfilled love, it was a letdown, for me, to jump to the Faeries.
And the death (again) of a CERTAIN CHARACTER from the first novel was surprising, to be sure, and so was the hand that dealt the killing blow; I had assume that that CERTAIN CHARACTER was actually the titular Lord of Shadows, until I came to understand it was the Unseelie King and we were going full-out Faerie. I liked that CERTAIN CHARACTER and wished that he'd been more fulfilled as a villain.
And while there's an excitement in following the Blackthorn clan to London and Idris, I miss the melding of the flashy modern world, in the shape of L.A., mixed with the strange and unique of the magical world from Lady Midnight. Though at least England does provide a bit of that dark romance that I was missing from the first novel.
The end is a little bit of a letdown. No one wants a political council meeting to be the climax to such a huge tale, and the loss of one main character actually seems ridiculously mandatory and unnecessary; I wasn't even certain what she was still doing there or why another CERTAIN CHARACTER lashes out at her. Shrugs. And I thought I knew where it was going, where the story was taking me, with Jules and Emma, making them an echo of the tragic couple from the first novel, but that was another subversion and... I'm not certain how I feel about that.
Emma does remain probably the strongest character, in my opinion, that Clare has written; while Clary remains a favorite of mine, Emma sort of fulfills what I had wanted Clary to be.
A solid entry, and I enjoyed it far, far more than I actually thought I would. Despite being nearly 700 pages long, it read fairly quickly, and I never felt a fatigue, which is a testament to its spot-on pacing.
I do have to say, I think it's hilarious, in a series that references anything and everything in pop culture, especially with fantasy fiction, the fact that she openly avoids mentioning Harry Potter is howl worthy, considering this world started off as Potter fanfiction. So things that could have been written off as another reference actually seem like she's ripping them off, because none of the characters mention it. Not a huge problem, just something I thought was funny.
This is one of my best friend's very favorite books, and that's very unnerving, LOL! You always feel at least a little pressure to like it. Luckily, so far, it's really good. And I do love that she intentionally absorbed Tolkien's world and turned it on its head. Carey's Silmarillion game is strong!
So, straight up, I avoided Secret Wars like the plague, because I actually despise the big crossover events, so the fact that Matt's identity is now only known to Foggy and the fact that Matt seems to be a lapsed Catholic, and that he's now working for the DA's office, all surprised me. But not in a bad way, because, thank God, it's actually a new direction for the comics to take the character in. (Hugely unpopular opinion, but Foggy began to play WAY too large a role in the comics in the past ten, fifteen years.)
I know Waid's run was hugely beloved, especially since it added a bit of lightheartedness to the comic (again, unpopular opinion, I didn't dislike it, but I didn't think it was the best thing that had ever happened to the comic either; Matt without his angst is like peanut butter without its jelly) and so this has come under some scrutiny. But I enjoyed seeing it go in a completely new direction. My complaint would be with the story, and how it almost felt as if it had been cut in half, since a lot of it relies on events from Secret Wars, and how Matt is already training Blindspot, the introduction for that character only coming in the last issue of the collection. Which also allows for some surprises as to his identity, and that was fun.
And I liked Blindspot. A lot. And I really liked that he seems like a direct response to the criticism that there are an awful lot of white martial arts dudes running around New York; at one point, Blindspot even pointedly compares himself to Luke Cage in Harlem and Daredevil in Hell's Kitchen.
A strong start to a new run that I've heard only gets better.
I struggled with the rating for this one for quite a bit. On the one hand, I really enjoyed it; it kept me reading, an eager page-turner. On the other hand, when you delve into the actual content, it's just a repeat of the Bendis run, but not as well, in my opinion. Matt loses one of his oldest and best friends (in this case, Foggy, and, hey! But, unlike Karen, he can't stay fridged forever--'cause, ya know, he's not female. It's revealed by the end of the volume that he's alive and in protective custody.) The loss drives Matt over the edge, as before, though this time, instead of driving Matt to seek more control, which was a really interesting character choice, they go for the more typical 'he just wants to fight everyone.' Will he kill the people responsible? He better not, because that'd pretty much assassinate his character.
And instead of the the interesting idea of Matt suffering an actual breakdown after Karen's death, his personality shifting, and not being able to see it happening, this comic is littered with people, mostly Ben, telling Matt, SO THIS IS WHAT IT LOOKS LIKE WHEN SOMEONE LIKE YOU GOES INSANE!
So, it's not in any way a bad comic, but it brings nothing new to the table, and the things it repeats, I feel it doesn't do as well as it did the first time around. Also? Can we talk about the fact that the writers of this comic never seem to understand that civil rights exists? And that's a problem that runs through all eras. And I'm aware that this comes from me being the sister of a deaf disabilities activist, but I notice it and it bothers me. Do you know how many blind protesters there would be outside of that courtroom? Especially since his wife is blind also and most likely has friends in the blind community.
And 'legally blind' is a thing. Someone please give the writers of the comics as well as the excellent Netflix show this memo. Because it's getting on my nerves.
I liked this a lot better than most fans do. I think it might be lowered expectations, having already read it and there being quite a few years between then and now. I understand that the promise of learning what happened in the "missing year" was far too intriguing, and the actual payoff being something like the Doctor Who episode Love & Monsters was ultimately disappointing for most readers. But, for me, the result was a personal story, and a fairly bizarre one--one of the stranger one, actually, in Bendis' run. An enjoyable, standalone story that I like considerably more than most of fandom.
The translation. Is. AWFUL. But that wasn't the only problem for me. I got more than a hundred pages in and, really, all that happened was a discussion of Ciri's period. That was the most eventful thing. I imagine this makes me a very bad Witcher fan, because I know other people go NUTS for the books, but it wasn't doing it for me, and with the truly terrible translation, I just decided not to try to power through it.
A small and minimally adventure-filled story (apparently based on an episode in one of the as-yet untranslated Witcher novels, but taking all its cues from the video games) feels unambitious, but is fun to read. I've seen others complain it's too padded out, and I sort of feel the opposite, that it could have benefited from focusing some of the empty panels of "atmosphere" to either character development (I was often mixing up all the secondary characters, and no one but Janessa stood out, and her BIG SECRET REVEAL didn't mean anything when I didn't know much about her.) or genuinely trying to build suspense.
The art, as per most post-Hellboy Dark Horse comics, seems to be mimicking Mingola, and doing it poorly, with neither his flare nor the video games' GORGEOUS atmosphere and locations.
A good way to spend an hour or so of the afternoon, but not much more. Enjoyable, but ultimately forgettable.
An absolutely fantastic high note to end on, with a surprisingly inevitable conclusion that refuses to "comics" its way out of the hole that Matt has pretty much dug himself into. Anytime there's a ton of Elektra, I'm happy, and this run was good to Natasha, too (though I remember being hugely amused by the banter, and now it just makes me cringe. I never want to read the term 'ninja skank' again.)
This review took me a while to build to, and it wasn't because of the material, but because, the more and more I thought about it, the more I realized I wanted to write about hero worship. Though I'd read comics all throughout the 90's, specifically X-Men and anything else I could get my hands on from Marvel, it wasn't until the early 2000's that I found comics that really changed me.
The Marvel Knights imprint was a huge part of this. I actually own all of Ennis' Punisher, every volume, which, even when I was young and slightly spoiled by my parents, was an indulgence. But I've read them to death, and they had me convinced, for a long time, that Ennis could do no wrong. This is... obviously not true. The MAX extension of his run on Punisher taught me that, though that's still pretty exceptional, it began to miss his humor. And then I read Crossed and realized that his sense of humor had just become laughing at every and anyone who was offended and/or sick at the extreme ideas he keeps throwing at you.
Between Bendis' run on Daredevil and the Marvel Knights Elektra that he penned, I had the same sort of blind admiration for him. Of course, reading Daredevil now from the beginning, older and more mature, and not just infatuated with what he was doing I see the many cracks in the facade. But is that necessarily a bad thing. It doesn't dim my enjoyment of it, though I did get that WHAT WAS I THINKING? feeling an awful lot. It doesn't change the way it hit me back then, or what it meant to me, or even my desire to reread it. Being able to see it critically is actually a boon to the material.
And, hey! At least they're not Gail Simone, whose writing never let me down, but her fervent defense of Barbara regaining the ability to walk, and the way she interacted with disabled fans about it, turned me off of her personally, and that is much, much worse.
What the heck happened? Have they run out of ideas? That doesn't seem possible, considering they have the entire Star Wars universe to play with. The tone shifts are absolutely inconsistent, and Han and Leia racing through a stolen Star Destroyer to determine who gets to be captain is one of the stupidest and most juvenile things I've seen either of those characters suffer, and Luke continues to go down the rabbit hole of GEE GOLLY GOSH characterization that makes me want to hurl.
And I would make a joke about The whole... Marvel with "complex" fascists thing, but it's been a problem in Star Wars for a long time now; I just went off on a rant about it with the Battlefront 2 trailer. No, making someone a TRUE BELIEVER of the totalitarian fascist dictatorship does not make it deep or interesting, it doesn't illuminate "another side." And it gives weight to the lie, in this comic, that all such governments sell themselves on, and that's that they'll help "the people." Also, dude stormtrooper wields a lightsaber because not only is he a SUPER FASCIST WITH THE POWER OF FANATICAL BELIEF! He's also obviously a huge Gary Stu.
Bluh. Nothing to see here. Move along.
And I crawl slowly along. I think I've decided that, while I don't like the story as much as TMI, the characters are much, much more well-rounded and likable. And, ah, Cassie Clare's trying, with the female characters being friends, interacting, but every time there's an evil and bitchy character, it's always a woman again. Guess those old habits are hard to break.