Review: The Price of the Ticket: Collected Nonfiction, 1948-1985

The Price of the Ticket: Collected Nonfiction, 1948-1985 by James Baldwin
My rating: 5 of 5 stars

The problem with reading such a profound volume of work is that you can't do it justice in words. I wish I could describe to you the level of beauty and voice this collection has, but I can't. I honestly can't think anyone can. All I can do is recommend that you read it. Even more so, say not only is it good, but that it is important. Not only to be absorbed for the sake of your mind but also that of your soul. I can't describe it to you, but I will try.

The biggest problem I find with collections, especially those of the same author over a long period, is a varying level of quality. If you collect everything a writer has done, even an extremely talented one, you get the good along with the bad. Earlier works that don't hold up as well against later works that are more refined. Plus the occasional work that makes no sense, but was still published because it would make money. However, in this collection, I didn't find that to be the case. It's almost impossible to read anything by Baldwin and not come away with at least something profound. There is no good with the bad because it's all great. To say this is the gold standard of collections is an understatement.

I don't feel right picking a favorite, since everything in the collection is worth reading, but I do want to say that "The Fire Next Time" is by far the crown jewel of this collection. It may be one of Baldwin's most important nonfiction works but remains the hardest pill to swallow. I can't help but feel he didn't write it for his own time, but rather, saw where the country was headed, and wrote it for today. While I don't condone reading only one essay in this collection, if there was only one you would read multiple times, it would be Fire. In fact, everyone should read it before every school council meeting.

The weird part of my brain that feels it needs to complain about something says I need to say something about "No Name in the Street." It's overly long and tends to stray from the point on more than one occasion. Not Baldwin's best work. That being said, Baldwin's worst book is better than 90% of the stuff in publishing today.

In a more broad analysis, there's a great deal of beautifully written pain in these works. Baldwin's voice can be too easily dismissed as angry, but I feel that is too simple of an answer. Sure, there is anger, but I feel his voice is directed more at the worse world than it is at any particular group of people. A feeling that the world, or more accurately the people in it, can be better. Understanding that people can't solve any of the world's problems until they at least acknowledge the problems that lie within themselves. That's what I took away from it at least. And that might be this collection's greatest gift. That it's impossible to read and not walk away the same.

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Review: Atlantis Wasn’t Built For Tourists

Atlantis Wasn’t Built For Tourists by Eric Palicki
My rating: 3 of 5 stars

In the vain of summoning things up: strong start, okay finish. It's the easiest way to describe how I feel about this book. I went in loving the title and came out with a strong meh feeling. There is some good writing and art, but its underlining issues are a little too large to ignore. But I stand by my first statement. Feel free to skip the rest of this review if you feel I don't need to break it down for you.

The book does a good job of starting off by subverting expectations. Here the thing though, if you subvert expectation, then subverting expectation becomes the expectation. Someone who does the opposite of the norm can still find himself being predictable. I appreciated the twists early on but found myself staying several panels ahead of the story by the end. I still found the writing to be good, just not overly clever.

The world-building also is fairly rudimentary and doesn't provide me with enough to stay invested. I enjoyed my time in Atlantis, but never felt I should stay. I passed through, had a beer, and went on my way. I don't want to use the word 'disappointed' but I can't think of a way to describe treating the franchise like a tourist stop. I read but didn't want to keep reading.

The art is good but felt more work went into the covers than the interior. Not just in the level of detail, but also in how the covers seemed to draw in more creative ideas. Setting expectations can be a two-edged sword. If you don't follow a great cover with great art, it's difficult to maintain readership. The key isn't to sell your story, the key is to keep selling your story.

If someone asked me if I'd recommend this book, I'd say yes but with tempered expectations. Just because something isn't the greatest book in the world, doesn't mean it isn't worth your time. You just have to accept not everything is the best. Not everyone can be Tom King.

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Review: Go Tell It on the Mountain

Go Tell It on the Mountain by James Baldwin
My rating: 4 of 5 stars

I almost feel that the Bible should be required reading for this novel. And I mean a deep understanding of the scripture. Not just knowing whatever was in a Charlton Heston movie. The entirety of the book's structure and symbolism relies so much on biblical knowledge, and with almost zero prefacing of said knowledge, that you can easily miss much of the book's meaning without knowing every verse of both testaments. I don't mean this as a knock against it, instead being more of a warning.

Though, I will say such reference isn't needed to follow along, just that it's necessary to unpack everything. There isn't much of a plot as the main character is much more of an observer than a driver. There are also long-drawn-out deconstructions of religious themes and their impact on racial lines. Frankly, the book's impact on you as a reader depends mostly on the weight of its ideas. Growing up in a fairly lite religious environment, I honestly feel much of the book was lost on me. It's still very good, it just won't stick with me as much as it might with someone else.

Prose-wise, the book is pure gold. With nearly every damn line, I am easily impressed with how beautiful Baldwin's writing is. I keep trying to come up with a way to inform people of how good it is, but I never come up with anything that does it justice. You just need to read it for yourself.

I generally feel it's not good policy to compare books, even by the same author. More so, a first novel going up against a later work.  Still, I'm just not as enamored with this novel as I was with Beale Street. The latter having a greater focus and purpose, the former more concerned with its symbolism. It can be argued, mainly by myself, that Beale might just be the better work as the author has further honed his craft. It's an unfair critique, but one I couldn't help but express.

If you're looking to tackle Baldwin, this might be a good place to start. I'm all over the place at the moment, with no real plan as to what order to read his work. It's probably not the best way to do it, but I think each work should stand on its own merits. Despite its greater symbolize to plot ratio, it's still a worthy read of nearly everyone on the planet. Not my favorite of Baldwin's work, but even his worst story is better than most's magnum opus.

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Review: Terra Nullius

Terra Nullius by Claire G. Coleman
My rating: 3 of 5 stars

There's an old adage: If you have to explain a joke, then it isn't funny. The same is true for allegories in books. If you make long winded explanations of your allegories, then it isn't a good one. That's basically this entire book. It's one big allegory but goes out of its way to explain itself. It's also badly paced and underrealized. But I'll get to that in a minute.

I think this novel's biggest problem is that it begins and ends at the wrong points. The first nine chapters are completely bogus and it just fumbles around with itself because the author thought it would be clever to hide the true aspect of the actual plot. It wasn't. I've heard people refer to what happens in chapter 10 (about halfway into the novel) as a 'twist', but it's not. It's just where the book gets started. Because it's so committed to this subversion, the plot of the first half of the novel has to remain razor thin. It might seem clever when you look at it from an overview kind of way, but from a chapter by chapter reading, it's just boring.

My biggest issue with the reveal is that, in chapter 12, it gives a rather long explanation of its entire allegory. There's a settler/exploited native dynamic going on that ties in with our own history but feels the need to spell it out for you. Yeah, I understood what you were going for. It's obvious. Yet, the book seems to want to repeat the explanation over and over and over again. What comes closest to a main character even repeats this sentiment several times as if it's their sole attribute. Either the author thinks their idea was so clever that it needs to be explained, or they think we're too ignorant to understand it. Either way, it's a knock against them.

Prose-wise, the book is alright. Lines can range from extremely literal to insanely metaphorical, but I understood what was going on at all times. So it's at least competently written. There's just not a great deal to attach yourself to beyond the premise. So, when things happen in what seems like slow motion, I found it difficult to care.

The world-building is well conveyed but underrealized. What I mean is that you only know what is important, but what is important is also convenient to the plot. To say something is completely alien but also say it can speak and act like a human, contradicts your own world-building. Everything explained about the world just feels like a convenience so the story in the author's head can be told. It's also not that creative, but I think my review already conveys my opinion of that aspect.

And while the book begins in the wrong spot, it also ends before anything is truly resolved. I was starting to like the book by the end, but it wants to so badly conclude on a sour note that it left me unfulfilled. The ending feels more like a middle act plot turner and the rest of the book would deal with the aftermath. Sadly, it ends there. I don't know if the author just wants to introduce everything to write a whole series, but the pacing is so bad that I would find it hard pressed to pick up a second novel.

Ray Bradbury said that a good story with a bad ending is a bad story, and a bad story with a good ending is a good story. Yes, I'm paraphrasing but that doesn't exclude the point. The latter half of the book is certainly better than the former, but the ending doesn't feel like an ending. So I'm conflicted. Somewhat liking the last few chapters doesn't make me forget all the thumbing around and condescending explanations. But it doesn't give me a strange compulsion to read it again. Not to enjoy it of course, but it only further dissect it. Like a toad.

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Review: Becoming a Writer, Staying a Writer: The Artistry, Joy, and Career of Storytelling

Becoming a Writer, Staying a Writer: The Artistry, Joy, and Career of Storytelling by J. Michael Straczynski
My rating: 4 of 5 stars

One of the worst things about advice is that it's not always practical. This seems to be especially true the more subjective the opinion on a subject is. Example: you're about to leave the house and you check the forecast. It tells you it's raining outside. You look out the window and, sure enough, water is indeed falling from the sky. Here's the thing. Being told it's raining outside isn't the practical advice. It's only the information used to establish said advice. The practical advice would be to grab an umbrella or a raincoat. That seems a little obvious given the subject, but I'm merely using it as a framework for something more complex.

Not only is most advice about art (writing in this case) is subjective. It's also rarely practical. I once had a potential agent say my cover letter needed to be more vibrant. The thing is, that doesn't actually mean anything. She was telling me it was raining outside without any regard to using an umbrella. I tend to see this a little too often. Either the person giving advice doesn't know what they're talking about, or they're attempting to sandblast writing so it all sounds the same.

Is Straczynski, and his new book on writing, guilty of this? No. But I'm laying this out to explain how I approach writing advice. I don't just use a grain of salt, I unscrew the top and use the whole fucking shaker.

Before I render my judgment on if the book is any good, I also need to layout who this book is for. Unlike most works, this is more of a textbook. You might be faced with the greatest book on algebra ever written, but if you don't have a class or a job involving algebra, it's pretty much useless to you. Breaking down the audience into two groups.

The first group is fans of JMS's work who wish insight into his writing process. It carries many personal stories of his career and his perspective into the industry he's worked in for decades. The level of sharpness of this aspect really did catch my eye and I think anyone who loves his work will get something worthwhile here. So, if you're reading this review wearing a Babylon 5 T-shirt, go ahead and read this book.

The second group needs a little more justification. And that's people who are looking to becoming paid writers. I said 'paid' because you're either already a writer or you're not. Also, as a disclaimer, if you're the type who uses the label of a writer and haven't actually written anything down, this book isn't for you. In particular, there's a section of the book that calls out posers. So save yourself the heartache and avoid this book. And me.

To the point made at the beginning, this book does offer up some helpful advice. If you're looking to crack into the business and/or looking to improve your craft, you should be able to find something here that applies to you. One piece of advice though: grab a highlighter. You're going to want to mark the relevant bits.

See, that's how practical advice works.

Since I can't resist saying something negative, I'll put it down here towards the end. There are a few sections in the book that are less helpful than others. There's an entire chapter towards not shoving your ideas in writers' faces. Good advice, but the chapter could have been a lot shorter and seemed a little too personal. I know many artists face this problem. There's even a Chappelle Show skit about that very problem. So, while I understand the frustration, I doubt most of those people are going to be reading this book. Or read period.

Regardless if you're in groups A or B (or maybe both, who knows?), I'd recommend this book. The use of real world examples can get a little straining, but JMS needs to establish himself so you don't think he's talking out of his ass. Trust me. He's mostly not.

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Review: The Ruthless Lady's Guide to Wizardry

The Ruthless Lady's Guide to Wizardry by C.M. Waggoner
My rating: 3 of 5 stars

This book was obviously written by an introvert. Not that is a knock against it. In fact, if someone offered me a choice between a book written by an introvert or an extrovert, I'd choose introvert every damn time. I merely point this out because it just stood out to me more here than it usually does. There are long excerpts of internalization and description. This is both a plus and minus, but I'll get into more in a bit. If a book deep with introversion sounds like a turnoff, stop reading this review now and write this book off ad something you're not interested in.

I'll also say this book is fun. It's intelligently written, clever, and even has a few sprinkles of genius throughout.  It's super strength strong in the prose and character department. Everything is concise and explained without making it feel you're being talked to. It's just a hands down a well-written book. Bottom line: If reading the synopsis makes you think this book is your cup of tea then it probably is.

Unfortunately, there are two major drawbacks I observed.

One, the actual plot of the book felt like it spends most of its time on the back burner. The pacing is cooked through well enough, but the increased introversion allowed the story to feel unimportant. As if the interaction between the characters is more or less the real draw and purpose of the book. The relationships are just given far more time and care, feeling like the plot is just the reason everyone is together having a good time. The characters and their time together is great, but I just wished for the plot to have a more equal measure.

Two, I honestly felt that this book's author could have written a better book. There's a real talent on display here, but the type of book it is feels a little beneath her station. If that makes any damn sense. It just feels she wrote a book that she thought would be popular (and it should be), rather than writing something that is truly inspired. Or maybe I'm just full of myself. That could easily be the case.

If you made it this far into the review, I just want to make it clear I'm recommending this book. Plot issues aside, it's still a wonderful read. I don't normally like to use the word 'fun' because it can give the impression the book is lesser than what it is. But, that's the word I keep coming back to. Fun. I'm honestly looking forward to what this author has in store for us next.

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Review: Batman/The Maxx: Arkham Dreams

Batman/The Maxx: Arkham Dreams by Sam Kieth
My rating: 3 of 5 stars

Comic books shouldn't be art forward. There, I said it. Without compelling writing, the art serves more like a gallery than as a form of media. To be fair, comics shouldn't be writing forward either. The writing not being much if you don't have the art to direct it. Everything needs to work together in order to make a great graphic novel.

My point? This Maxx/Batman crossover has a great deal of awesome art, but little in way of a convincing story. The wording is surprisingly dense while not really saying that much. The structure is all over the damn place. Ranging from repetitive to confusing. And I would even say it's unintentionally funny.  An example on the last point, when Batman meets Maxx, he describes him as a homeless person. While I'm not sure if the ludicrous nature of it was on purpose, I couldn't help but chuckle at the idea this huge purple monster with a severe overbite was supposed to be mistaken as a regular homeless person. Greatest detective my ass.

The art is great though. While the flow in the paneling could use a great deal of work, how the characters are drawn and framed are damn near perfect. I'd probably prefer a book without wording and just the art. If there's one thing I'd have to judge against it, is that the amount of work and detail seem to hinder on the distance. The further the character(s) are away, the less amount of detail goes into the page. There is a slight, but noticeable, change from up close of a characters' face that looks degraded if the page shows the same character from the waist up. Then if you get far enough away that the characters are in the distance, they look only slightly better than stick figures. I don't mean to take away from the insane talent on display, but I also couldn't help but mention it.

I'll admit that I wasn't familiar with the Maxx character before diving into this book. But I don't think knowing more would have helped my opinion. Characterization and plot dynamics aren't the huge problems here. Especially when you consider how the book goes out of its way to explain everything to you. The whole writing side of things just feels clunky. I was glad I was exposed to such great art but reading it felt like driving over grassy hills in a 2WD sedan.

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Review: Sweet Tooth, Volume 1: Out of the Deep Woods

Sweet Tooth, Volume 1: Out of the Deep Woods by Jeff Lemire
My rating: 3 of 5 stars

As an opening volume, it's fine. It follows one too many troupes for my taste and is just shy of the required world-building you'd expect from a first volume. I wouldn't say its problem is slow pacing or lack of good story telling. It scores good marks in both fields. It just has the inherit problem of being good, but just not good enough.

It wouldn't be the first comic series to hold off on a strong hook. Invincible is a good example of this. Of course I mean the comic version because the show couldn't hold its wad past the first episode. It's just Sweet Tooth doesn't make me feel that a hook is coming. And, as a result, I don't feel I should continue reading into further volumes.

I've always considered Lemire to be upper to mid-shelf in the writing arena. I've never hated anything of his that I've read, but I also haven't loved everything he's done. Ascender and Gideon Falls are probably two examples of his best work. Sweet Tooth just felt like another interesting but subtlety vain undertaking.

The art matches well with the story and themes. Every few pages I see something slightly clever in the panels. With comic books, it's not so much about having great art as it is having art that fits the story. Don't take this the wrong way, but the art is perfect for people who look malnourished.

In the end, I would actually give this a recommend. Your flavor palette might work better for this piece of work. It's worth your time to say the least. It's up to you to decide to continue reading further volumes or just catch up through Netflix.

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Review: Consider Phlebas

Consider Phlebas by Iain M. Banks
My rating: 3 of 5 stars

I've been told that this isn't a great start to Banks' work. That he has much better stuff in his catalog and starting with this might turn you off. After finishing Phlebas, I can see why people would say that. Not because his other stuff is good (to be fair, I haven't read it yet), but because this book is so meh. It tries so hard to entertain and impress, but I can't help but feel a dryness to it. Not Kim Stanley Robinson kind of dry, but more of a licking sandalwood kind of dry.

The book is just fine in most areas, think in the arenas of pacing and prose, but what it fails in sticks out so much more because what it succeeds in it only does so in the mildest of terms. The uninteresting characters are so much blander because the pacing is only modest. There is also a severe lack of scope that undercuts everything else. The world this book takes place is suppose to be so much bigger but the narrative is so two-dimensional. No book is perfect, but what is wrong with it happens to stand out so much more than what actually works.

Also, action doesn't equal plot development. Just because characters are throwing their fat around, doesn't mean the plot is actually moving. This is more of a general comment that applies to most books, but it needed to be said.

Double also, the only science fiction book that can justify having an appendices is Dune. Not even the works of Asimov or Clarke can get away with that shit. Get the fuck over yourself.

If this book succeeds in one thing more than any other, is that it sparked a debate within me between the nature of fantasy and science fiction writings. It stuck out to me that this book claims to be science fiction but mostly reads like a fantasy novel. If you asked a random person if a book that contains a religion called the 'Circle of Flame' and asked them if it was science fiction and fantasy, what do you think their answer would be? I'm not saying books in well-defined genres need to be written in a certain way, but the debate persisted. I don't have a clear answer, but anyone reading it might also notice it.

Am I going to read more of Banks? Probably not. Maybe one day to spite those who say his other works are good, but for now they win this one. I rushed through the latter half of this book, and I only do that when the book is super good or I just want the pain to be over. This book isn't a broken arm painful but more like an annoying paper cut that just won't heal.

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Review: If Beale Street Could Talk

If Beale Street Could Talk by James Baldwin
My rating: 5 of 5 stars

There are some books you read because you want to. Some books to read just for shits and giggles. Some books because you want to complain about how badly literature has fallen. And there are some books you read because you need to. While the last one could probably describe all of Baldwin's work, there might not be a better example for a much needed emotional stirring than Beale Street. A fully encompassing tale about emotional bonds and the system that feels justified in breaking them.

Because I can't help being negative, I have to point out the plot is a little slow going. It opens by telling us why we're all here but takes some time to develop after that. I'm mostly only pointing this out because I've given other books lots of shit for pacing issues. The difference here is that Baldwin is a much better writer than the people of those other books. The subtext and underlying the family connections everyone shares is the main purpose of the book, the tragedy being that when systemic racism brings hell to one person, it brings hell to everyone he/she/they are connected to. The book needs time to establish those connections before the non-linear narrative explains itself.

The prose are some of the best I've ever read in modern literature. It's impactful, deep in emotion, and heavy in its intent. Even though it's short, I felt full by the time I finished. I didn't want anymore because I don't think I could handle it. Which is probably why it ends where it does.

I think what makes Baldwin's work so engaging is the subtle feeling of hope under the tide of tragedy and injustice. Being simultaneously anger and sad at the system that treats humans as less than that, but still being able to imagine a world that can be better. To quote Baldwin himself, "I am an optimist, because I am alive."  For all those who still feel they are alive, read this book. Because you need to.

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Review: Heavy Vinyl, Vol. 1: Riot on the Radio

Heavy Vinyl, Vol. 1: Riot on the Radio by Carly Usdin
My rating: 3 of 5 stars

Most things are just alright. Books, movies, days. It's the nature of the universe that everything just settles into a bell curve. With that in mind, I try to temper all my expectations. I don't expect everything to knock it out of the park. Just as long as they get on base. This book? Yeah, it's just okay.

It's nearly perfect okayness mostly steams from the writing. I understood what was happening at all times, the commas and periods were all in the right places, and the characters weren't entirely two dimensional. But doing everything right doesn't mean you did well. Nothing was excessively creative, the plot was a little thin, and the writing wasn't as engaging as I would have hoped. There's pieces of coolness in this book, but most of it comes off as dry.

The art. Well the art is actually really good. Not and-the-award-goes-to good, but it exceeds its serviceable needs. Characters are well designed and drawn. Backdrops and settings don't feel lazy or uninteresting. Emotional impact and panel transitions  are all properly communicated. Given the so-so writing, the quality of the art actually stands out.

There is one thing that really bugs me though. No record store looks this nice or does this well business wise. I mostly say this because New Jersey's Vintage Vinyl, the best record store east of the Rocky Mountains just announced it is shutting down. A reminder that record stores struggle daily to stay in business and are mostly used by their cash strapped owners as storage. It's a cool fantasy, but I've seen D&D games with more realistic settings.

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Review: Piranesi

Piranesi by Susanna Clarke
My rating: 2 of 5 stars

I consider myself to be pretty pretentious, all the people who know me nodding simultaneously in agreement, but even I'm not pretentious enough to like "Piranesi". I'm going to try and keep this review as non-ranty as possible, but it's going to be obvious I didn't like this book. Or, to be more accurate, I'm going to explain why this book isn't good. Disliking something and knowing it's bad are two different things. In this case, both qualify.

For those reading this review who have no idea what this book is about, let me sum up: It's a journal of the universe's most boring genre character. It's not uncommon for books to have a fairly uninteresting main character in comparison to the supporting cast, but damn is Piranesi a boring person. He literally spends a good portion of the novel, especially in the beginning, just wandering around making notes about when birds show up. There is a motivation about finding some great knowledge, but it's such a generic idea that I rolled my eyes each time it came up. Also, the secret knowledge doesn't matter. At all.

The pacing is terrible. The so-called plot takes some time to get started, ramps up suddenly without warning, and then overstays its welcome after the climax. You would think a short book like this would have a tighter narrative. You would be wrong. Imagine watching an eight-hour-long debate on C-SPAN over the arrival of albatrosses, there's an explosion, and then the debate continues in the wreckage for two more hours. That's what reading this book felt like.

The prose are okay. If there weren't so many damn structural problems, I might have actually liked the writing in the book. Aside from most of it being boring, there are two problems with the writing I wanted to highlight. One, most of it is formatted in the way of a journal. That wouldn't be a problem in and of itself, but it's far too observational to be a journal. Journal entries are meant to self-reflective, processing the days' event(s) into a means for the person writing it to psychology examine. But the descriptive nature makes the book more of an artistic form of logging.  And there's a difference between keeping a journal and keeping a log. The biggest problem is that no one would write a journal or a log in this fashion. As normal prose, it's fine, but the journal structure mostly just ruins it. Two, it's trying too hard to impress C.S. Lewis. There's a difference between influence and imitation, and the prose of this book rides that line likes it's a wild horse it's trying to break in. At the end of the day, I would say the book bucks on the influence side, but anyone else who has read a good amount of C.S. Lewis will notice it.

Perhaps this book's biggest sin is that it only sounds good if you talk about it conceptional. Like how "Catcher in the Rye" is only good when you talk 'of it' instead of 'about it'. "Piranesi" alludes to a bunch of stuff but firmly commits to almost nothing. I feel there are some genuinely good concepts floating about only to forever remain shadows. There's also a misconception some people are having with this book coming out in 2020 and the nature of being in quarantine. This isn't the book's fault so I won't devolve into the extremely mean rant forming at the base of my skull. I'll only say that those people are wrong.

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Review: Project Hail Mary

Project Hail Mary by Andy Weir
My rating: 4 of 5 stars

Expectation is unfair. It can tell us what is good or bad before it is even upon us. Some excuse it as an evolutionary leftover, embracing our once vital need to hunt and fish, but that implies that this skill isn't useful in today's first class world. This, of course, is untrue. Practical use in everyday life aside, expectation plays an important factor in determining what I read next. With "The Martian" being one of my favorite books, Andy Weir's latest performed the rare feat of jumping to the top of my rather large "to read" pile. The cover/title alone had me expecting this to be The Martian 2.0. Now that I have finished with "Project Hail Mary", the only question left is if it met these rather high expectations.

One sidestep, I want to briefly revisit Andy Weir's second book "Artemis". While there is plenty to love about it, it falls flat in several areas. There are several aspects of the main character that felt out of Weir's element and come off as unremarkable. As if parts of it were written, or at least influenced, by committee. There's also a lot of world-building in that book. And, while some of it was interesting, it isn't Weir's strong suit. I merely point these things out to illuminate my mindset going into this new book. I have to admit "Artemis" might have left me purposely looking for pitfalls.

I'll start off with something nice before going to the negative zone. The wonderful writing, wit, and science are all here. Grace is the weakest character, trying to come off as an anti-Watney, but even he manages to gets a stamp of approval. Basically, everything you loved about Weir's work is all here with the added bonus of having the experience of two other novels under his belt. I won't say it's as good as "The Martian", but it is still a wonderful read that is difficult to put down.

Now, to nitpick.

Writing non-linearly can be rough. Or, to phrase it better, can be difficult to do well. I will say, given the story, it was the correct way to tell this tale. The flashes between past and present can be clunky at times as they are often motivated more by the plot than anything else, but it mostly works. The past segments could have been structured better, especially towards the end as they fade away once they become irrelevant. There are also a few scenes that come off as unimportant (i.e. Stratt v. Copyright). Well written and extremely entertaining scenes, but unimportant to the overall plot. This aspect of the book I could probably nitpick the most, but I still prefer the story being told this way than a straightforward linear thread.

Most of the book is paced well, thanks non-linear plot, but it wavers towards the end. The big problem is a lack of climax and resolution. There's a point in the book where our character(s) make a dangerous attempt to grab a sample. Honestly, this should have framed as the climax of the book because it answers much of what is proposed. However, there is one last problem that pops up and it serves as the framework for the novel's ending. I felt this was just one problem too many, there being a missed opportunity for a more somber conclusion.

Don't think I didn't like the ending. It was satisfying in both structure and emotion. In fact, I'll be uncharacteristically revealing in telling you something. The ending made me smile. And, if you have ever seen my normally stoic Sam the Eagle inspired face, you'll understand how big of an accomplishment this is. I haven't smiled at a book's ending since, well, The Martian.

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Review: 20XX, Vol. 1

20XX, Vol. 1 by Jonathan Luna
My rating: 2 of 5 stars

Ever been on a first date and you realize about halfway in that you don't even like the person you're on the date with. I don't mean hate them, but rather that they're just annoying. You don't even really want to be vague social media buddies much less romantic partners that are allowed to invade each other's personal space. The worst part is that you feel pressured to finish the date enough though the relationship has already failed. That's what it felt like reading this book. Nothing to really hate, but it was annoying to finish because I felt pressured to do so. I think mostly so I could complain about it in this review.

The reason I choose the dating analogy was because this book has a lot of post-teen social drama. Every character in this book is at that awkward age where they can legally have sex but still can't be compelled to behave like an adult most of the time. I found myself skimming the unreasonably large text bubbles that were mostly people venting their unearned emotions. Whenever someone is discussing plot or literally taking an exposition dump, their voice is far more concise. But when they're unpacking their emotional baggage, they'll hold the plot hostage for several pages until they're finished.

It's just bad writing all around. Bloated dialogue aside, there's almost no intelligent world-building or engaging characters. The pacing is downright horrible and several issues end with the exact same cliffhanger of the 'villain' looking at someone and making a statement that doesn't impact the story as much as the comic seems to think it does. It just doesn't effectively utilize anything. And I mean anything. Even naked boobs.

The art was obviously meant to be in color. There's a difference in how artists draw if the art is going to be colored in later compared to knowing it's going to stay black and white. The art in 'The Walking Dead' works because it was always meant to be in B&W. Sure, it looks fine colored in but remains in its best effect if it stays without color. The art, at least to me, looks as if they planned to add color but backed out after the fact. Either it was a money or bad artistic decision. Doesn't really matter. I doubt I would have enjoyed the art even if it was in color.

If it isn't obvious by now, I didn't care much for this book. I'm not disappointed because that implies this book showed promise. It did not. It wasted some of my life, but, to be fair, it is my life to waste. My only regret is that I just didn't get up and leave without even paying the bill.

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Review: Death's End

Death's End by Liu Cixin
My rating: 4 of 5 stars

I'm surprised this book is only six hundred pages. Seriously, that's my first takeaway after finishing this book. It might be in part that I took my time reading it, but it's mostly because of how dense the story is. Most other writers would have taken the outline of this one book and expanded it over several novels. It reads more like a fictionalized history book of the future than typical novelizations. Each section world building a different era as it uncovers the story of the last two books straight through to the literal end of time. That's not a knock against it, but rather something you need to know before diving in.

If you read the first two novels in the series, and seriously why wouldn't you have, I'm hesitant to say you'll feel right at home in the last installment. It's not so much that it's written in a profoundly different way, but rather that it leans more heavily on its world-building strengths. This is especially true in the latter half of the book where, to be honest, not a lot happens in terms of plot. The characters, more or less, become passive observers to the end of fake history. Again, this isn't a knock against it, but it might be a turn-off to those who are used to lighter reads.

Though one knock against it is, much like the previous book, its main character is the least interesting of the bunch. Not as passive as Luo Ji, but Cheng Xin still feels like more of an observer than a character that drives the plot. Luo Ji got a pass because being passive was part of who he was as a person, but here I'm not so sure about Cheng Xin. In fact, I don't have a strong sense of her at all except when she is being reflected off Yun Tianming. This might be because I'm more of a Sophon/Thomas Wade kind of guy, but others might make the same observations. At least Cheng Xin did two important plot-related things in this book, and it's one more than Luo Ji.

While the characters might add a little color to the mix, I would urge that most readers aren't here for that. Rather they're here for the intense world-building, wonderful prose, and a level of scientific ideas we rarely see in the genre. It's a profound book that caps off a profound series. Probably the biggest knock against it is that there isn't more of it. I honestly believe with a more expansive dive into the world and characters that this could have made it into a twelve-book series. Would I have read twelve books like this? I don't know, but I feel like I already have.

One last reader beware warning: don't read this book if you're easily depressed. Some describe this book as "dark" and/or "grim", but I would disagree. It has more of a nihilist quality to it. The narrative not so much being cruel as it is uncaring in a way that would make Nietzsche proud. If I had to pick one word to describe this book, it would be "sad". Because it isn't sad that everything dies, it's sad that everything ends.

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Review: Invisible Kingdom, Vol. 1: Walking the Path

Invisible Kingdom, Vol. 1: Walking the Path by G. Willow Wilson
My rating: 4 of 5 stars

Is it unfair to give first volumes full reviews? The opening chapter might be too much setup or tries too hard to impress and has a lackluster middle act. Should it be more of an initial impression rather than being placed under the critical laser scalpel Goldfinger style? No, the answer is no. All art must be judged. I will admit that context matters, but beginnings are not lesser or greater than their middles or even ends. And I will die on that pretentious hill.

Invisible Kingdom is a great book. Not blowing-my-socks-off good, but still shows a huge amount of potential. I'm still going to nitpick, because I have to, but the overall impression is that this is a graphic novel worth reading. And not just the first issue or anything, give the entire first volume a try.

One thing I really noticed was how well the writer and artist synced together. There was just something in how everything flowed that gave me the impression this was a true collaboration. Not just one person writing a script and handing it off to another person to draw it. It feels alive in a way that most comics, even good ones, fail to do.

If I had to pick one knock against the writing, I would say it's the pacing. Bad pacing doesn't necessarily mean it's moving too slowly. Sometimes it can mean that it's moving too quickly as well, and I felt that was the case here. It's in such a hurry to get the ball rolling on the main course it barely spends any time driving up our appetites. With the vaguest of world-building and a party of characters that we only get to know two of them, the story feels it's being rushed. It's not a deal-breaker, but still bothersome. I prefer to sip my whiskey, not gulp it down in one go so it burns my throat.

The art is a feast for the eyes. I'm not going to say it's better than the writing, but it was certainly a pleasure to take in. My only complaint is that it gave me strong Descender vibes, but that might have just been me. Still, I would recommend this book on the art alone.

"This book wasn't 100% for me, and I still really liked it." Should be the promotional tagline for the book. Because if you are the audience for this book, say feminist art nerds who can't admit Firefly is overrated, then this book will be the second coming for you. For me, I'll still be picking up volume two in the near future.

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Review: The Dark Forest

The Dark Forest by Liu Cixin
My rating: 4 of 5 stars

More isn't always better. In fact, it rarely is. I'm just going to throw that out there. That sentiment is likely to be a recurring theme in this review, so it's a statement that should be a the forefront. I tend to respect those who state their business at the start and I try to do the same. I'm here is chew bubblegum and nitpick a book I fully enjoyed. And I haven't chewed bubblegum in two decades.

Considering the follow-up to the "Three-Body Problem" is 100 pages longer, you would either guess it contains a lot more story, or you're in for a long haul. The bad news is that it's the latter. The good news is the book is still awesome. I will complain that there seems to be even less story in "The Dark Forest", but that might be its radical change of focus. While there are some connections to previous characters, we're mostly dealing with a totally new slate of people. The overall story is still there, bad aliens are on their way, but it focuses so much on the future it completely forgets about the history it built upon in the first novel. The shift in characters and scope can be jarring but it doesn't remain an unwelcome change.

My biggest complaint, and there has to be one, is that the book sure does take its time. This is especially true of the first third of the novel. The first novel was tighter in plot and focus on the characters wrapped up in the story, but this one likes to stop and smell the roses. I really wouldn't say it's slow or badly paced, the story just demands a sense of urgency that the narrative doesn't share. The book doesn't waste your time, it just demands you be patient before it lets you know what the hell is going to happen next.

Luo Ji also isn't the most compelling character. He doesn't really fit the type of a main character, but he's the closest thing to a through-line we get. He mostly observes, his motivations are rather weak, and he really only does two things throughout the entire book. I feel it's a case of the story, ideas, and themes being more important than the characters while a more balanced approach would have been more satisfactory. Also, many of the other characters just seem like a rainbow in comparison to Lou Ji. I can't tell if this is completely on purpose or not.

There is a lot of great prose and imagery in this book. Basically, if you liked how the first one was written, you should like this one. There are several long segments involving science and plot dumping, but I enjoyed it so much I can hardly complain. There are some parts of the book that really had me thinking about it afterward. Chewing on my brain like a puppy with a new toy. It's a really great feeling to read a book that stays with you after you finish it. So many fail to do that you wonder how half of them even get published.

While the actual plot could be summed up in a couple of pages and a lackluster protagonist, I really loved this book. It's unconventional in the idea of it being a squeal, but the writing is so well done I hardly cared. It's a simple case of if you liked "The Three-Body Problem", you'll love "The Dark Forest". It's not better, but that's simply because there's more here to digest. Les is more. But that's the way it's always been.

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Review: The Zombie Survival Guide: Complete Protection from the Living Dead

The Zombie Survival Guide: Complete Protection from the Living Dead by Max Brooks
My rating: 4 of 5 stars

Zombies aren't real. They aren't even really possible. We all know this. Well, we all SHOULD know this. They're still fun to write and watch but clearly aren't based in reality. But, here's the thing: survival is very real and very important. Our ancestors doing just that is proof enough. And that's where we find this book. On an almost perfect border of pure fantasy and the grimiest of reality. I think it's best to examine this book from both of those angles. As a work of fiction and as advice for the total collapse of civilization.

As a work of fiction, I honestly think it's great. It fully commits to the idea that zombies are not only real but the real of the world as except this fact as well. Even making up scientific, historical, and statistical information to support it. It's creative and well-written. It's a little difficult to finish as it gets repetitive towards the end and starts to be far more fiction as the fake facts dry out. The text is also as dry as a bone, but I find that to be a part of its charm. As zombie fiction I find it to be one of the best. Able to capture the grime nature of zombies without numbing your skull with sensitization flair.

As I said before, the 'facts' about the zombies are mostly fake. That doesn't mean it's completely devoid of false information. Far from it. I found a good bit of good information on weapons and survival tips. But I wouldn't recommend it as the sole resource for post-apocalyptic survival. The book itself often recommends consulting real survival guides on several occasions. Though it doesn't sight any direct sources. If anything, it makes you think about how you can at least start preparing for the end of the world. Unless you're rich. Then you can just jump on a plane and flee to New Zealand, leaving everyone else to die.

One note of disapproval is that the historical accounts at the end are mostly unnecessary. They can be creative and witty, but mostly serve as filler and just feel incompatible with the rest of the book. I'd suggest reading the first few and if they're not doing anything for you, skip them.

Overall I consider this a good book that's worth a read. Even if you're just a mild fan of zombies or surviving past a small emergency. You might learn something. I will say this though. If there's ever a head in fiction that is detached from the body, speaking or making noise, it bothers me. Because I learned through this book that your mouth can't make noise without your lungs and diaphragm. And I can't get that fact out of my head.

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Review: Batman: Three Jokers

Batman: Three Jokers by Geoff Johns
My rating: 4 of 5 stars

Warning, your opinion of this book will vary. Mostly on two factors that will certainly intermingle. One, it will depend on your opinion of Alan Moore's classic "The Killing Joke". And two, will be even further influenced by how you feel in regards to a direct sequel to said classic that wasn't written by the original author. Because, while the writing and art are undeniably good, it dives into a piece of comic scripture that some might be unable to detach from.

I'm going to flip the script a little bit and comment briefly on the writing. Normally, when reviewing graphic novels, I'll go on and on about things like plot and dialogue but will only speak briefly on the art unless it stands out profoundly. Here, I'll just say the writing is really good. A true master of the comic book format at the top of his game. There can be plenty said here of the nature of the emulation of other authors, namely Alan Moore, but the final project is a tight unrelentingly story that has a perfectly woven characterization of, not one, but three heroes and their signaler relation to the chaos that is the Joker.

Now, the reason I want to talk about the art so much is because it should be taught in creative classes on how to draw a damn comic book. Not just because the art is glorious, even though it is, but because it communicates an emotional impact unlike ninety percent of the content that currently exists. Simple details like head nods and eye movements display more emotion than the most strongly worded text. The level of mastery on the page is intense and delivers every punch the story wants you to take. I honestly can't get over how good it is.

I would never be one to say that all comic books need to be in a quasi-type of nine-panel format, but it certainly is a superior form for the comic book genre. It allows the reader to carefully follow every tick of emotion of the story, instead of just following the dialog bubbles as the plot unfolds. It more firmly makes the art, and the objects that are being drawn, that much more part of the story. There are too many comics out there where the story is mostly told through the speech bubbles and the art is just used to direct who is speaking and if any display of action accruing. This is not one of those comics. And, hopefully, it will teach others on how it's done.

Also, while we're on the nine-panel subject, I've seen other comic books that have a strict nine-panel per page structure. While this can work if the writing style suits it (looking at you Tom King), making the style more adaptive to the story, I feel, is just the better format. This way, you develop all the strengths of the nine panels but aren't restricted by its limitations.

I think I'm just going to finish up this review by saying this is very much a book for long-time Batman fans made by a long-time Batman fan. It has a deep knowledge and love of the history of Batman and his never-ending fight with the Joker. In a lot of ways, this book looks to define that relationship and pulls from its most famous aspects. I'm not going to debate the fandom politics of it all. One, because it's beneath me. Two, the final product succeeds in so many ways those arguments are mostly baseless. It's not perfect. But, when a cynic like me won't point out its flaws, you know it must be good.


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Review: The Fold

The Fold by Peter Clines
My rating: 2 of 5 stars

I have a habit of labeling stuff. Not just 'bad' or 'good', but I create naming conventions for things I see repeat themselves. Especially in particular art forms like books and movies. For example, if a book has the characters spending the vast majority of their time walking/traveling to their destination, I called it "The Mordor Problem". Because one can not simply walk into Mordor. A similar naming convention came to mind as I read this book, but more on that in a minute.

If you saw the two-star rating first, you can probably tell I didn't care much for this novel. Making the real question not 'did I like it?' but rather 'where do I begin?'. I suppose it makes some sense to begin with the first chapter. I don't normally tear books apart chapter by chapter, but, seriously, the opening paragraphs of this book should be taught in creative writing classes of how not to begin a story. The latter half of the chapter does pull you in with an increasing tense scene, but the events of the first chapter mostly undermine later plot developments and the particulars don't impact the rest of the book. You see this a good deal in bad fiction, in both books and movies, where the opening scene means to draw you in with something shocking but has nothing to do with the actual story. The more I think about it, the more it annoys me.

I'll admit that, once I got past the first chapter, I found the book mostly charming. The flaws that radiate throughout the story were already there, but I hadn't noticed them just yet. It even crossed my mind that I might like this book. Statistically unlikely, but possible. Then it started to slowly grate on me. I started to notice the chapters themselves weren't really chapters, but instead singular scenes. Often divided by clunky bits of dialogue or something marginally climactic. I call this the "Commercial Break Mechanic". Ending chapters, not because the chapter, or even scene, was concluded, but rather because it would be a good place to put a commercial break like a badly written episode of Star Trek. You tend to see this ever so slightly in debut novels, but considering it was used in almost every single chapter and that this is Clines fifth or so book, I guess it's just how he writes.

Side Note: Read "Redshirts" by John Scalzi if you want to see someone make fun of this poor means of writing.

It was about then that I noticed other flaws. Like how the book was pretty much all dialogue. Kind of like how a cheap science fiction show/movie can't afford any special effects, so they spend all their time indoors talking out loud about their feelings or plot. The book has no prose to speak of except for direct action. If something isn't flying across the room or if someone's eyes aren't going wide, then nothing is being written except more dialogue. To the book's credit, it does describe some of Mike's inner photographic memory. But this is used mostly to set up his next action and doesn't do much else.

This leads me to the next thing to rant about. Our main character Mike. First off, I'm not saying you have to be a hyper-intelligent person to write a hyper-intelligent person, but it helps. The eidetic memory component is mostly just used as a plot mechanic and Mike doesn't make many smart decisions. There's even a running joke of people asking him "I thought you were the smart one?" Slightly humorous at first, but then I started to realize Mike isn't smartly written. Hell, the only reason he survives to the end of the book is because of plot armor.

Secondly, and perhaps more discerning, Mike isn't a likable character. Not unlikeable in the sense that he's cruel, capricious, or just an old fashioned asshole. He's unlikeable because he's selfish and weak. The thing is, I don't think the author knows this. Slight spoiler, but there's a scene in the book where Mike talks out his feelings because the book doesn't have any prose. He explains that he has spent his life pretending he isn't super smart because random people in his orbit might not like him. The book intends this to be sentimental or endearing, but it mostly comes off as pathetic. Hence, why he isn't likable.

I can go on. Believe me, I can. But if I tore into this book with every problem it has, we'll be here for years. So I'll reach the bottom of the pot and tell you its biggest problem. It's shallow. It's completely tame and inoffensive (unless you hate the truly unremarkable) and mostly reads like the novelization of a rejected script for SYFY. Also, its tendency to make pop cultural references pretty much guarantees it'll be forgotten in the literature zeitgeist. This book doesn't have anything meaningful to say nor has a story worth telling. Or, at the very least, is told too poorly for me to care.

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Review: The Three-Body Problem

The Three-Body Problem by Liu Cixin
My rating: 4 of 5 stars

As a disclaimer, this written review is done after my second read-through of this book. Having never gotten around to the rest of the trilogy, and the upcoming Netflix series that will sit on the 'My List' query for years before I watch it, I felt I needed to re-familiarize myself with the book before proceeding to the other two.

I vividly remember reading the first chapter of this book years ago. It was shortly after it won the Hugo and I read the first chapter to see what all the fuss was about. I remember the insanely good imagery and prose before literally uttering the words "Fuck this is good." Years later, my reaction might be more reserved but my opinion of this novel remains the same. "The Three-Body Problem" is a great book.

The first thing that makes this book a must-read is its insight into modern Chinese history. With the country being blocked off from the rest of the world for so long, there might be a lack of insight into points of historical reference the author is working from. However, the workings of the book are so good that these flashes into Chinese history and culture aren't just token references. They are woven expertly into the fabric of the novel and set the stage for a deep involving story.

The second thing to admire about this novel is its love for science. I mean this book loooooves science. The author, Liu Cixin, loves science so much I'm surprised there isn't a mock wedding between him and science. While poking fun is perfectly allowed, what is actually admirable is the intelligence the science is given. I've read other books that love science but the authors don't have a deep enough understanding of it to fully integrate it into the story. That isn't the case here. Not only does this book love science, but it's also more than smart enough for science to love it back.

The third thing is the colorful characters. However, my take on this is a little more mixed. The characters are great, but the range can be a little far-reaching at times. Da Shi, for example, feels very much a direct influence of Western culture. This might be a bit of ignorance on my part, but I can't help but read about him without thinking about Dirty Harry. While the characters are well-written, they can be slightly detracting at times. But nothing close to a deal-breaker.

Speaking of characters, or more important character arcs is the nature and arc of Ye Wenjie. I'll try my best not to spoil anything, but there is a decision she makes in the book that I think is the most debatable aspect of the entire novel. While her move is insanely selfish, the novel takes great pains to allow you to understand her reasons. It's a fascinating notion that we don't see enough of in books these days and people I know who have also read this book still argue about it. That's all I'll say on the matter.

If there's a reason you haven't read this book by now, it can't be a good one. If you have time enough to read this review, you have time enough to read this novel. It's a near-perfect blend of importance and great writing that makes for a wonderful reading experience. Having read it twice, I will say it's not endlessly enjoyable. There are a few long-winded aspects of it that can detract if you already know the outcome. However, if this is your first time with this book, it's bound to challenge you in ways more novels should.

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