Ram V is so good at superheroes that even in a truncated, sped-up story like this one—which originally took place as the “back-ups� to the mainline JuRam V is so good at superheroes that even in a truncated, sped-up story like this one—which originally took place as the “back-ups� to the mainline Justice League book, for whatever reason—he manages to whip up a banger of a tale. The story is definitely rushed, and few moments have much time to breathe before it’s hurtling onward to the next scene, but when nearly every individual moment is as good as they are here? It’s pretty easy to roll with the punches.
The artwork is also great, almost across the board. I love the two-page spreads; Ram V and the artists pull off some stellar, fourth-wall-breaking visual gags and twists; the designs for new and old characters are rad, and there are some outstanding action moments to bask in. It’s a bummer that the final issue collected here is such a visual departure, though, especially since the sudden change in style is a significant step down from everything preceding it.
I hope Ram gets to pick this story back up because there’s some genuinely fascinating lore and narrative here that deserves to be seen through to the end, not left in the loose, limbo-like state it ends in. Plus, I’ll never tire of Zatanna, Constantine, and the other magical weirdos fighting horrific cosmic monsters....more
The ending for such a chaotic, free-wheeling series was bound to be a little messy. Gillen’s storytelling strains to wrap everything up in these finalThe ending for such a chaotic, free-wheeling series was bound to be a little messy. Gillen’s storytelling strains to wrap everything up in these final issues, and you feel the strain. Character arcs seem rushed, and major events don’t always have the gusto they maybe deserve. And yet, since this is Kieron Gillen (and Dan Mora and Tamra Bonvillain and Ed Dukeshire), it’s still a banger of a finale.
Like the rest of the series, a great deal of its charm and fun comes from that messiness and rambunctious, pedal-to-the-metal creativity. There are huge spectacles, exciting twists, and emotional payoffs that somehow manage to land in satisfying, appropriately inevitable ways even amidst the busy, breakneck pace. The whole creative team is having such a blast playing in (and messing up) this world, and it’s infectious. Gory, kickass, touching, deeply nerdy—the ideal ending for this series and, honestly, any series. I’m happy with how things end up, but I would happily take more if the team gets a hankering for more mythological adventure and bloodshed.
And, of course, the artwork is just unreal. Mora’s work is the comic equivalent of a heavy metal concert, with Bonvillain and Dukeshire backing him up with sweeping orchestral flourishes that elevate and complement all the wild swings Mora takes....more
Another really good development in Zdarsky's Daredevil saga. There's a lot of set-up in these issues, as various pieces are introduced and rearranged,Another really good development in Zdarsky's Daredevil saga. There's a lot of set-up in these issues, as various pieces are introduced and rearranged, but Zdarsky's scripts provide real momentum to the proceedings. Daredevil going to prison is an inspired idea, too. I continue to admire Zdarsky's willingness to interrogate real-world tensions (corrupt government forces, the broken prison system, etc.) in a popular superhero comic. Does it still feel like Zdarsky is talking around some of the issues? Yes, an unfortunate side-effect of being a popular superhero comic, but I'd argue he gets further than most, and that's worth something. Some of Daredevil's motivations are a bit tiresome, though. Zdarsky is asking all the right questions regarding Daredevil's incarceration, so I hope to see the story end up somewhere with genuine consequences and lessons for Daredevil.
The more traditional superhero elements are also really strong, and seeing Elektra take up the mantle of Daredevil is an inspired treat I can't believe we haven't seen sooner. Checcetto's design for her costume is incredible—there needs to be an Eisner Award for "Best Hair" so we can give it to Checcetto—and his propulsive artwork is once again a stunning highlight of an already great book. The pages he doesn't steer the ship on lag behind the ones he leads, but even those are above-average, I think, albeit unremarkably so. Even the King in Black crossover is relatively harmless, and it's good fun seeing Checcetto get to play around with Venom.
I still haven't reached the level of enthusiasm for this series that it seems a lot of readers have—I think I may have had my expectations a little too high to begin with, admittedly, but I'm still 100% onboard for the long-haul. The broader storytelling Zdarsky is doing with Fisk, Hell's Kitchen, and the various criminal gangs operating within the city is super compelling on its own, so when you pair that with a thoughtful superhero story about guilt and consequence, you've got a guaranteed banger. ...more
I like a lot of what Greg Pak did with his time in the series, but these final three volumes just didn’t have the stuff for me. Characterizations feltI like a lot of what Greg Pak did with his time in the series, but these final three volumes just didn’t have the stuff for me. Characterizations felt way off, the plot was flimsy, the stakes were so murky they felt totally inconsequential, and the eventual resolutions we get didn’t feel earned. I don’t dislike where some of the cast end up, it’s just that their journey to reaching that point seems to have all occurred offscreen. It felt like Pak had an ending in mind but none of the time or interest to develop an interesting or affecting way to get there. The final three issues have some nice moments that reflected the earlier high points in the series—and stayed in line with the fundamentals established in the classic TV series and subsequent movie—so I didn’t outright dislike this. But based on how strong the series started and how effectively Pak kept the Firefly story going with new and interesting ideas, characters, and subversions, I expected and wanted more, especially since this final story arc starts with such a compelling idea.
At least the art wasn’t that bad. Simona Di Gianfelice and Francesco Segala have some attractive spreads and visuals. Segala’s colors are the highlight, as they bring a warm, lively vibe to the personality of Di Gianfelice’s illustrations. Character expressions are also great, and made me wish even more that the emotions drawn on the page were also felt in the writing.
A middling conclusion DZ’t ruin the parts of this that I really liked, and I’ll always appreciate Pak for reminding me why I fell in love with this world and these characters in the first place. After learning about how shitty a person Joss Whedon is, it was nice to have another storyteller take the reins and, for a while, at least, prove that there was and still is value in this particular story. I wish this ending kept that momentum, but hey, you can’t have it all, so I’ll take the good that I got....more
I'm glad Spurrier could wrap up the narrative he started before the series ended, but it almost makes its cancellation that much more tragic. This booI'm glad Spurrier could wrap up the narrative he started before the series ended, but it almost makes its cancellation that much more tragic. This book has so much rich, nasty potential that it's just as hard to put down as it is to keep reading. And I mean that in the most complimentary ways because a John Constantine story should make you feel a bit dirty. Spurrier's scripts are charged with a sharp, underlying political commentary that never overshadows the magical, horrific settings he's working in but gives them additional teeth. Whenever I thought the story was about to take the easy way out, it swerved some other way and found a creative way to make my skin crawl. It's inspired stuff, and it sucks that we couldn't see Spurrier continue to flex those muscles.
The series also thrives off of its artwork, which is so gleefully in line with the grime and scum of Spurrier's scripts that you can practically smell the pages as you read them. Campbell and Bergara's different art styles don't clash at all, so there's no dissonance between the arcs they draw. And, of course, Bellaire's coloring is as stellar as ever. So murky and moody that you can feel the smoke in the air, and the flashes of aggressive reds and oranges perfectly convey the violence they're often associated with.
Some of the reveals in the final issue felt sudden, and they didn't have enough time to pull off the guttural reaction they were aiming for. Still, it's hard to blame the book when Spurrier's overarching narrative had the rug pulled out from beneath it. Even on those unfortunate terms, it's impressive how complete this story feels. I hope Spurrier gets to come back to Constantine someday....more
Despite what the cover art may imply, Batman isn't the main character in this story. Instead, the story follows a young boy who, like Bruce Wayne, is Despite what the cover art may imply, Batman isn't the main character in this story. Instead, the story follows a young boy who, like Bruce Wayne, is orphaned at a young age in Gotham and grows up to be shaped by his hatred and fear. And also, like Bruce, he directs those feelings toward what he believes to be the cause of his family's death. The catch is that he blames Batman, and Rosenberg's story follows the boy from one tragic, fucked up situation to the next, framing him as a distorted reflection of Batman and Gotham that wants to represent the failures of both.
And it works! The story is appropriately dark and ends on a genuinely dour note that I was not expecting. There's not a lot of optimism here, which I like, but I needed a little more characterization for the protagonist. I like the themes at play and really like how Rosenberg uses Gotham's rogue's gallery in the story. Without a stronger investment in the character, though, my interest was chiefly intellectual. The art is nice enough, but also like the story, was slacking some of the edges it needed to stand out.
This worked well as the backup story to The Tower storyline in Detective Comics, as the tone of the two narratives paired well. It's less successful standing alone, especially with that misleading cover art, but not without merit. Rosenberg is a great writer, so even a less memorable project from him has high points....more
Another very cool outing for a very cool series. The structure each installment has used so far is still a little strange—the first half that follows Another very cool outing for a very cool series. The structure each installment has used so far is still a little strange—the first half that follows the core story of Dream and the Endless is consistently and reliably fantastic, while the latter half of short stories and vignettes can be hit-or-miss. Thankfully, this one is back-loaded with some great short stories with a fascinating framing device, to boot. The World's Ends stories are fun and strange, never overstaying their welcome before moving on to another. The voice performances are less consistent, but since we're never stuck in one story for too long, there's a new narrator around the corner. It's a treat seeing Gaiman develop his world with these stories, and considering his world essentially encompasses every story you can imagine, the imagination is never lacking. Could he iterate more on the classic tales he borrows from? Sure, but the iterations he does make are neat, and considering how familiar those tales are, I enjoyed seeing them with a new coat of paint.
I also loved the deeper focus we got on Dream and his siblings, which has always been one of the most exciting things in the series. James McAvoy is as good as ever, bringing so much personality, tension, and simmering emotions to the stoic Dream that I still find myself hanging on every word. His deliveries are just excellent, too. His dynamic with Kristen Schall's (from Bob's Burgers! and Gravity Falls! and dozens of other amazing things!) Delirium is a special treat here, and I'm as eager as ever to see more of the Endless. And based on how Act III ends (arguably the best ending so far), there's more of that on the way in Act IV. I can't wait....more
"Listen to the anguish of a world in which the bad things are coming out of the dark places. Listen to a world in pain. Listen. You can hear it."
I i "Listen to the anguish of a world in which the bad things are coming out of the dark places. Listen to a world in pain. Listen. You can hear it."
I imagine I'm sort of an enigma, as my first real experience with Gaiman's The Sandman was the Audible production, which I immensely enjoyed for all the reasons you would expect. The mesmerizing lore, lofty thematics, and fascinating characters—even without their visual component, the stories lured me in and compelled me to begin seeking the story in its original form. I'm glad I did, too, because this first collection is exceptional.
I've been a fan of Gaiman's novels for quite some time, and seeing his rich prose in a comic is a treat. He's a bit too verbose for his own good, but in the same breath, I was surprised at how much space his dense scripts leave open for the artists. I will confess to not always loving the art, though. Some of the earlier issues feel similar to an Andy Warhol painting, where pop culture iconographies are plastered alongside dreamlike fantasies or nightmares. It's unreal, almost overwhelming, in how it pulls you away from the text. This is certainly the intent, I imagine, and often succeeds in its aims. It gives the comic an identity quite unlike anything else, so even if that particular art style isn't always my favorite—it's a bit too heavy for my taste, I think—the creativity in the compositions and visual language is staggering. As iconic as Dringenberg's work is, I think I enjoyed Chris Bachalo's contributions even more. I know Bachalo from some of his more recent stuff (i.e., his work on Doctor Strange), and seeing him work with Gaiman is more than enough to get me to check out the other projects they worked on together.
Parts of Gaiman's writing haven't aged well, which is to be expected. But what surprised me more is how much of it has aged well. Gaiman includes more queer characters than many modern books (although their characterizations tend to stray into outdated stereotypes) and, to the best of his abilities, doesn't treat their queerness like a commodity. He also brings incredible thoughtfulness and open-mindedness to his character's characterizations, regardless of how morally grotesque they are or aren't. It lends the comic a rich interiority that invites interpretation and moral consideration, much like other classics of the medium (i.e., Watchmen) are known to do. I might not be blown away by this introductory collection, but I'm already immersed in the world and eager to descend deeper down the rabbit hole....more
This ruled. Watters packs a lot in here and makes the world feel bigger than ever, but it rarely feels bloated or clunky. It's a less action-packed voThis ruled. Watters packs a lot in here and makes the world feel bigger than ever, but it rarely feels bloated or clunky. It's a less action-packed volume, which is a good choice for the finale as it lets the story focus on wrapping up its various thematic and narrative threads. The execution isn't perfect, and I don't know if all the emotional resolutions are fully earned. But I admire the shots it takes enough that the almost-there delivery still resulted in a satisfying conclusion, in my mind. I would've happily read another volume, which is always a good feeling to end a series with, especially if there's wiggle room for a sequel.
Wijngaard's art is as terrific as ever, and he might deliver some of his best work to date in these pages. The spectacle isn't quite as bombastic as it's been in the past, but he gets to draw some wonderfully eerie visuals that are just as colorful as they are deeply unsettling. Watters' story is a great hook, but it's Wijngaard who arguably made this series. Despite some choppiness, all three volumes are a lot of fun to read and get a lot of mileage from the wild-and-wacky genre mash-ups the series is built on. I'm happy I stuck with it to the end and would not say no to more stories in the world that Watters and Wijngaard's blood and punk-rock-fueled imaginations created. ...more
While not the easiest place to pick-up the story, I had a lot of fun with this. The first arc is an entertaining mystery almost in the vein of a classWhile not the easiest place to pick-up the story, I had a lot of fun with this. The first arc is an entertaining mystery almost in the vein of a classic whodunnit, just with the added personalities of cosmic beings with big personalities and snark in excess. Abnett’s dialogue is sharp and snappy without becoming kitschy, and he gives the particularly large cast—consisting of quite a few faces I’d never encountered before—enough personality to feel distinct and developed, even for someone who DZ’t know anything about their story before this point. There are exceptions to that, of course, especially in the second arc, where some characters disappear on the sidelines and (literally, in one case) sit in a room while everyone else splits up on their own side missions.
That second arc almost lost me for those reasons. The cosmic antics were fun, but so removed from the stuff I cared about (i.e., the character dynamics) that my interest lagged for a couple of issues. An unremarkable prison break plot did little to liven things up, too. It does come around, though, and ends with a solid two-issue escapade that struck some nice emotional beats. Most of it went over my head, since those beats were obviously payoffs for storylines I know nothing about, but the setting and delivery were strong enough to sell me on the stakes and consequences. I’m eager to get into the second half of Abnett’s run and see what’s up.
Artwork is solid all around, too. It didn’t often wow me, and some of the facial work looked a little wonky occasionally. But the coloring is as vibrant as can be, the character designs distinct and enjoyable weird, and there’s a curated density to the action scenes that I liked quite a bit—really sells the chaos of a blaster-charged shootout between aliens. ...more
I've been a bit tepid with some of King's recent output—except for his and Bilquis Evely's Supergirl, which is excellent—but reading this reminded me I've been a bit tepid with some of King's recent output—except for his and Bilquis Evely's Supergirl, which is excellent—but reading this reminded me why I love his take on the Batman and Gotham as much as I do. It's very much a Tom King book, with all the poetic narration, semi-untraditional narrative structure, and literary references he's known for at this point, but they're all in top form.
This isn't a simple, dime-a-dozen caper meant to coast off the recent movie's coattails, either. It still hits the "greatest hits" notes but mixes them with a compelling mystery that contextualizes the way King plays with the timeline. It makes the cuts between days, minutes, months, and even years feel like an extension of the story instead of a gimmick. I can see how it could be frustrating for people expecting or hoping for something more straightforward. I'm not one of those, though, so the storytelling structure totally landed for me.
Marquez's art is stellar, too, and makes the book look like a blockbuster spectacle. Sánchez's colors and Cowles' reliably exciting lettering make the pages even better and give the story vibrant, dynamic energy and momentum. The art manages to balance the inherent silliness of a Batman comic without losing any of its edges, which is crucial for any Batman story and this one in particular. There are some jaw-dropping images on these pages, and every issue has at least 2-3 pages or panels that I had to stop and bask in. If you want to see some badass hero shots, Marquez has you covered.
The comic is also far more violent than I expected, to the point where I kept checking if it was a Black Label title. There's a considerable body count, quite a bit of obvious bloodshed, and it's framed in a very matter-of-fact way, making it pack an even harder punch. It also works as a great counter to the occasional silliness of King's script, which I dug. Any story that focuses on Batman's rogues' gallery should be a little silly, and King has always done an excellent job at recognizing that without forgetting that these villains are also homicidal powder kegs. He even introduces what I think might be a new villain into the mix—a new one to me, at least—that I hope to see more of. The reveals might not be as earth-shattering as you think, but they serve the story and are satisfyingly unsatisfying in a way that feels appropriate.
I really dug this, even more than I expected. It's been a while since I've vibed this hard with a Batman comic, and it felt good. It's weird, dark, unpredictable, occasionally poetic, and always badass—a rock-solid 4.5. ...more
As far as Stephen King goes, this is pretty mid-tier. It's advertised as the book he wrote in quarantine to bring himself some enjoyment, and it showsAs far as Stephen King goes, this is pretty mid-tier. It's advertised as the book he wrote in quarantine to bring himself some enjoyment, and it shows, in good and less-than-good ways. The positive stuff includes King's usual strengths: excellent foreshadowing, endearing characterization, enticing ideas, you get the gist. And that stuff rules! It's been a minute since I've picked up a King book, and this was a wonderful reminder of why he's the best at what he does. Watching him develop the relationship between protagonist Charlie and old-man Mr. Bowditch and his aging dog, Radar, is a treat, especially once he begins teasing the dark, fantastical mysteries that are coming. Those first 150+ pages are all about that relationship, and it's the anchor that keeps the rest of the story from unmooring (although there are some close calls).
Bowditch is the book's highlight, arguably, and viewing him as King's self-insert character (as I did) gives the story some potentially meta-commentary elements that I liked. I doubt this is intentional, as the book doesn't explore those elements, so take my assessment with a grain of salt. King isn't interested in interrogating or subverting the fairy tale ideas he's using, opting instead to enjoy them as toys for a relatively by-the-numbers tale that's content to be a soft remix of the greatest hits. On those terms, Fairy Tale is an easy, enjoyable read, even though I kept waiting for it to become something more.
Ironically, the most effective parts of this book take place outside of the fantasy world, as it's there that King's writing is most touching and memorable. After the fantasy starts, things regrettably grow a little dull. King's characterization and pacing falter, as does his plotting. We're introduced to some wonderful supporting characters and big, exciting ideas; they just don't go anywhere. Charlie becomes a less interesting protagonist, too, as his role in the traditional fantasy adventure is as by-the-numbers as they come. King's attempts at giving it some teeth are more monotonous than anything, too, and eventually, my earlier investment in Charlie took a nosedive.
Still, despite its shortcoming, I love a good fairy tale and getting to read one of the best storytellers of a generation tell one was a ride I'm glad I took. The ending wraps things up on the kind of nostalgia-tinged note I'm always a sucker for and nails the balance between bitter and sweet like all fantasies should. I won't be running back to this one, but the vibes and visuals will happily linger in my head for a while. The book gets a 3.5/5 from me, but Radar the Very Good Dog™️ gets a 12/5....more
I don't know if this is an entirely satisfying return for the series, but I also don't think it needed or wanted to be. After the events immediately bI don't know if this is an entirely satisfying return for the series, but I also don't think it needed or wanted to be. After the events immediately before this new chapter starts, taking some time to reset and establish a new status quo is smart, and Vaughan and Staples do that incredibly well here (because of course they do). The writing is as sharp as ever, the continued commitment to worldbuilding riveting, and the characterization, despite not being exactly what I wanted, as solid as ever. Staples is in especially high form, too, and arguably delivers some of her most impressive visuals thus far, which is saying a lot, considering how consistently lively, creative, and gorgeous this book has been since the start.
Vaughan is laying a lot of groundwork here, and most of it works. Did I wish we had more of certain characters experiencing or talking about certain emotions and experiences? Yes, I did, but that's not Vaughan's style, and I know we're going to get there eventually, so I can be patient. I still struggled to find my footing in this new chapter, though, because it felt like the story had moved on from previous events when I hadn't yet (which I acknowledge is a side-effect of having just caught up on the series, like, six months ago).
Thankfully, the foundation that's developed here is stellar, and seeing Vaughan and Staples reset the table for the next half of their story is equal parts exciting, infuriating, and terrifying. I can't wait to see all the creative new ways they'll break my heart....more
I was optimistic about this event since it didn't hinge on dozens of tie-ins and spin-offs, unlike most events. And that's exactly what it does and whI was optimistic about this event since it didn't hinge on dozens of tie-ins and spin-offs, unlike most events. And that's exactly what it does and why it was such a fun read. Tamaki's run on Detective Comics has been solid, but this is where it feels like she comes into her own in a bigger way. The plot itself isn't groundbreaking. Neither is it all that surprising, ultimately. The fun comes from Tamaki's measured pacing and enjoyable character dynamics, which give the familiar story a nice balance of freshness and comfortable familiarity. She also gives Huntress a nice spotlight, continuing the trend she started in prior volumes. It's also refreshing to read a 12-issue story that doesn't require much (any?) additional reading. You can jump in, pick up on the basics (Batman is not in Gotham, and Arkham Asylum is out of commission), and enjoy the ride.
The different artists are all good, too, and the shift in styles was never jarring, thankfully. Like the story itself, nothing on the page is notably memorable, but it's consistently solid, and there's some impressive spectacle to enjoy. What surprised me the most about the story is how effective Tamaki's antagonist(s) were, especially considering that the primary instigator is a brand-new character. She gives him interesting motivations and is less put-together than most antagonists we see in Gotham. The obvious highlight is seeing his scheme gradually back him into a corner and unravel in dramatic, explosive ways. Some of the supporting villains are less interesting, but I did like how Tamaki connected her new character to existing ones—it's one of the better executions I've seen in recent memory.
With every Batman story seemingly attempting to reinvent the character, reading a straightforward adventure that leans into its simple strengths was refreshing. 4 stars might be a little generous, but I'm rounding up because of how consistently solid and enjoyable this was for me. ...more
As gentle and thoughtful a book as they come. Goudge's writing is lovely, almost to the point of becoming saccharine but pulling back just enough to eAs gentle and thoughtful a book as they come. Goudge's writing is lovely, almost to the point of becoming saccharine but pulling back just enough to ensure her characters and their motivations remain believable. I think the story might've benefited from a little more focus, as Goudge can't quite seem to decide if this is an ensemble piece or not. But I honestly can't blame her for not settling on a direction in that regard, either, especially since her characters are so lovingly realized.
It's a story about community, about the ties that bind a community together, even if the community itself rejects or ignores those binds. It's also a story about how a single person can change the tide of a community by simply paying attention to the people in it and giving them the simple respect and love we owe to one another. Those ideals are potentially too optimistic for a modern setting, but I think that's why I enjoyed them so much. It helps that the characters are messy, conflicted, and often selfish people whose selfishness or self-centeredness prevents them from experiencing a better world. Even the Dean, who's as close to a proper protagonist as we get, is clumsy in his goodness. For a book this built on nostalgia and sentimentality, having characters who don't always, or even regularly, get it right is crucial. I was consistently surprised at how well Goudge manages that balancing act.
I really enjoyed this, almost despite myself, since it's pretty far removed from the kinds of books I'm drawn to. It's a breezy read, but not in a forgettable way, like a Hallmark movie. That breeziness comes from the classically lovely prose, clumsy-earnestness of its characters, and the warm, familiar sense of place that Goudge injects into every scene. ...more
A very cool but very outlandish ending to a series that never seemed to settle on an identity. It's got personality in excess, thanks to Taylor's actiA very cool but very outlandish ending to a series that never seemed to settle on an identity. It's got personality in excess, thanks to Taylor's action-comedy writing and Di Nicuolo's bombastic artwork. But the series moved at such a breathless pace that little of it got to breathe or find an identity outside of its obvious "cool" factors. This finale reflects all that, all the good and less-than-good bits of the series. It kicks ass, objectively, and contains so many absurd moments of grand spectacle and fantasy that my desire to critique almost evaporated entirely. Almost, but not quite.
I'm sure Taylor didn't intend to end the story this early, which means the plot is straining almost out of the gate. There are huge leaps that might've worked if they had been built up to, but in this story, we don't get that, so those big moments don't land as solidly as they should've. Don't get me wrong, the all-bets-are-off silliness is fun, and I was very down to enjoy it on those terms. Maybe more time wouldn't have fixed the myriad of issues the series struggled with, especially since the characterization was lacking from the start, more or less. But I would've liked to have seen it try. It's unfortunate that a series with this many ambitious ideas didn't have the capacity to do them justice. If Taylor and Di Nicuolo ever return to this world, I wouldn't say no, but adopting a shorter-form or anthology approach might work out better for them....more
A fascinating premise paired with a reliable conspiracy-thriller plot should be a recipe for a banger of a book, so it’s a bummer that Anyone DZ’t A fascinating premise paired with a reliable conspiracy-thriller plot should be a recipe for a banger of a book, so it’s a bummer that Anyone DZ’t manage to go anywhere beyond “fine.� The plot is too basic, too rudimentary to do the moral, philosophical, and existential questions the premise poses. That plot is executed well, and Soule strikes a solid balance between the tensions and paranoia that thrillers live or die off of. It’s the lack of risk and imagination that sap the story of its staying power. Why use an idea this rich for exploration on a revenge-thriller we’ve all seen dozens of times before?
I had a decent time reading this, as it’s a breezy enough summer read with just enough bite to keep the pages turning at a steady tempo. Soule’s protagonist is someone you want to root for, and to his credit, he uses her motivations and the sci-fi setting to pull off some exciting set pieces and scenarios. The narrowness of the story is something I couldn’t stop noticing, though, so regardless of how “cool� a story beat was, I kept imagining how much better it could’ve been if Soule had examined and interrogated the ideas he uses as a backdrop. The ending leaves some scratches on the surface of that potential, but the conclusion itself is abrupt and feels like a cop-out, once again robbing the reader of something worth chewing on.
I described it to a friend as “Discount Michael Crichton,� which I stand behind. The lofty science fiction elements are here—the edges have just been chiseled away. I’m between 2 and 3 stars with it, because it’s a very readable book with moments of excitement. But that enjoyment is fleeting, and at the end of the day, I wish I had spent my time on something else. ¯\_(�)_/¯ ...more
A fun romp, but not much more than that. I enjoyed Thompson's (all-too-short) run with Kate Bishop very much, and while Nijkamp does a good job at conA fun romp, but not much more than that. I enjoyed Thompson's (all-too-short) run with Kate Bishop very much, and while Nijkamp does a good job at continuing the vibes that series set, it doesn't do them as well. The cringier elements in Thompson's writing (i.e., the almost-meta-level humor and sarcasm) land significantly worse here than they did there, so Kate's snarkiness feels forced and stilted instead of playful. There's fun to be had, especially in that final issue, and if the series had been ongoing, I might've stuck around a bit longer. But as a miniseries, the dull, by-the-numbers plot and rushed characterizations don't amount to much.
The art is quite good, though, and has nice energy that captures the kind of energy Kate Bishop should have better than the writing does, arguably. It's nothing to write home about, outside of some playful flourishes in the full-page spreads, but it does a lot to keep the momentum going even when the derivative plot starts feeling sluggish. Three stars is maybe a little high, but as someone who loves Kate Bishop and wishes we got more of her, I got enough enjoyment from this, however fleeting it might've been, to round up. ...more
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