Superman: What Price Tomorrow?, George Pérez, Jesus Merino, Nicola Scott
This wasn’t as bad as I expected from the general trend of reviews on Goodreads. I don’t think I’m really a fan of DC’s stuff in general, though. I mean, I remember Superman in bright colours, as wholesome as Marvel’s Captain America, but here it’s all dark and broody. Maybe part of the problem is that I never read the comics before, but was a devotee of the tv series. No, not Smallville — Lois & Clark: The New Adventures of Superman!
Anyway, this was… okay. I liked the redesign of Superman’s costume which keeps the important aspects of his iconic image and tweaks things we could do without (the underwear on the outside of his costume thing). I didn’t feel strongly about the art either way, though I did feel that the criticisms of the number of panels and cluttered pages are pretty valid.
The story is okay, but like I said, there’s a lot of dark and broody here, which I thought was more Batman’s line. There’s some stuff intended to make it relevant and modern, like the Daily Planet’s way of dealing with the move to digital media, but all in all, I don’t know how that works. In my head, the Daily Planet smells of paper and ink, and Metropolis never really joins the digital age.
So the only New 52 titles I’ve really been interested in following are Batgirl and Batwoman. Hmm.
House of M actually seems a bit old hat, coming to it after I’ve already read other crossover events and the aftermath of House of M, The Children’s Crusade. I’m trying to fit it together with some of the other comics I’ve read, and I’m a little unsure — Wanda’s children, how do they end up being Billy and Tommy from Young Avengers? When does that happen? That’s not really explained to my satisfaction anywhere in the story.
Did like the cast here, though it feels a little crowded. Spider-man gets some good lines, and I love that Ms. Marvel’s pretty important in this world. I’m not a big fan of Wolverine, and I don’t know much about Emma Frost, so their prominence wasn’t especially helpful for me.
All in all, it felt frenetic, more than a little crowded. I didn’t need background from other comics for it, but it felt like I would’ve liked it: so many people were referred to glancingly, and I know so little about them, or what I know is from Ultimates, or…
I love the ideas behind a lot of Strange Chemistry books, but when I get round to reading them, it ends up feeling like there’s something missing. Maybe it’s just that while I enjoy some YA, I tend to be picky, and maybe more critical of it. On the other hand, I do love other Strange Chemistry books fairly uncritically, so I don’t know. I mean, on the surface this is right up my alley: female protagonist, Irish setting, comparisons to the basic ideas behind X-Men, family bonds and conflicts… But somehow I never really got hooked.
There are some really great reviews out there for this book, and I’m somewhat inclined to write off my reaction to crankiness or bad timing, and maybe put it aside for later. Given the enormous length of my reading list, and how bad my current ratio is on Netgalley, I can’t justify reading the second book when I didn’t really enjoy this one. It’s not even that there was anything particularly bad about it — I’m not a fan of the destined love type trope, and I didn’t get super invested in the characters, but this isn’t a review to say this book is bad. Maybe ultimately just “not for me”.
It’s hard to figure out how to rate or review this. I mean, do you rate it as art? As a story? Or as non-fiction? As something in between, that nonetheless tries to express the truth? I quite liked Spiegelman’s style: the panels were maybe a little too busy at times, but the drawings had character and life.
More importantly, I think in writing his father’s story, Art Spiegelman managed to capture something we can be prone to forget: the Jews were not necessarily all nice people, all innocent victims and young girls like Anne Frank. There were greedy Jews, Jews who survived because they were quick-thinking and put themselves first, Jews with horrible opinions and so on. Art Spiegelman’s father Vladek isn’t a pleasant character in many ways, but what he goes through and the finer aspects of him show us that it doesn’t matter what kind of people the Jews who suffered and died were, they didn’t deserve Auschwitz and Dachau and all the other concentration camps. We don’t need an idealised innocent young girl to know what happened for the horror it was — that might make it easier on us, but to me it’s equally important to remember collaborators and cowards, the everyman and the rich banker and even the ones who stole each others’ food or lorded it over them to survive. Half of those horrors were created by the conditions anyway.
Which is to say… there were no perfect people. It’s a mistake to forget that, to forget that we’re still talking about humans all their messy glory. Maus reminds us pretty firmly that horrific things can happen to people who aren’t that nice themselves, and remain horrific.
So all in all, I don’t know that I like it much, but it’s one of those things where I have to consider the work that went into it and what it says, what it does, more than my personal enjoyment or not.
This was okay, but honestly? If you’re interested in archaeology, watch out for the “Archaeology’s Dirty Little Secrets” course to run again on Coursera. It covers a lot of the same issues, but in more depth, with more examples, and obviously with the chance to interact with a lot more people/opinions (even if you just watch the videos). The assignments help you focus on and get to grips with the techniques and discussions.
This book is… much more basic. It’s very informal, often very personal to the author (as where he sneers at theories he doesn’t agree with, or makes snide comments about other people working in the field). There are some useful bits, and it’s certainly an easy (and very brief) read, but mostly I think you’d be better investing a bit more time in this, via Coursera or via other, better books.
One section that rather riled me was the whole bit about “feminist archaeology”, mostly using those scare quotes. Bahn falls into pretty much every pitfall in talking about feminism, claiming for example that the history of men is now going to be ignored, and comparing women to slaves who will want to be masters. Right. Thanks, dude.
I didn’t get on with the writing style of these. It felt dry, and all the stories had the same feeling to them — something a bit too prone to explanation rather than action, which took the impact of some of the interesting ideas and creepy aspects away. I liked some of the ideas here, but the execution really didn’t work for me.
The stories are structured okay, and self-contained, but… I don’t know, altogether I felt they were lacking something.
(Received to review from the publisher via LibraryThing.)
Wonder Woman: Guts, Brian Azzarello, Cliff Chiang, Tony Akins
I’m not really a fan of Wonder Woman, I think, at least not in this incarnation. I’m not fond of the character designs, except maybe for Strife (but she reminded me of someone else; maybe a Neil Gaiman character?) and Wonder Woman herself, and the plot just… Nah.
I can take some tweaks to my mythology (hello Thor), but this was strangely closer to the actual mythology and further from the spirit of the mythology. Or something. The bickering among the gods, Hera’s jealousy, etc — it all makes sense within Greek myth, but they seemed cardboard cutouty, which Thor and Loki do not.
I knew nothing about Eternals before reading this, and pretty much just got it because it’s by Neil Gaiman. So I didn’t know about the original series (and still don’t know much about it). Some of the character designs and ideas are kinda cool, and the art works well enough, but I don’t think Gaiman managed to rescue this from the wtfery of its apparent origins.
The longer he drew out the mystery, the better it was; all the explanation was kinda… this is what you were setting up for? Really?
I don’t think this works well in a world with registration and Civil War and Tony Stark, either.
The Best of All Possible Worlds is not a perfect book. I can sympathise with various of the lower-star reviews out there. It’s a quiet book, contemplative, and ultimately despite the backdrop it’s basically a romance against a sci-fi, post-disaster backdrop. It’s not quite Ursula Le Guin, but I quite liked the slow progression. It had the feel of something unfolding, rather than a roller-coaster ride, and that’s just fine by me.
I think some potentially problematic things are brought up by the plot and dealt with varying degrees of success. The domestic abuse by telepathy ties in with the plot in a couple of ways, so I don’t understand people saying that doesn’t fit. I’m very tired of the whole “you included this [minority] character just to get brownie points” idea. Maybe there are some people out there who do that, but I don’t see why a character has to be fully explored with all characteristics plot-relevant to be included. Finding a big long explanation for a gender neutral, essentially asexual character isn’t necessary, if that’s the way the character works. And Lian worked fine in that sense, for me — and I think that aspect of their identity was relevant, in some ways.
I mean, you don’t include other stripes of queer characters and then look at them with a magnifying glass to justify their inclusion. Some people are just queer, why can’t characters just be queer? And why oh why do you need to know what’s going on downstairs for trans* people?
All in all, I didn’t love this the way I enjoyed Redemption in Indigo, but I’m glad I got round to reading it. (Finally.)
Wonder Woman: Blood, Brian Azzarello, Cliff Chiang, Tony Akins
This was one of the first DC books I picked up, I think, but I didn’t get round to it till now. I have to say I’m more fond of Batgirl — I’m not sure this was a very good introduction to Wonder Woman. I mean, there’s very little by way of explanation of her motivations going on. She just kills some stuff dead and finds out some secrets about her past.
It’s fun enough, and the art is good, and the mythology goes pretty well with actual Greek mythology (unlike, say, Marvel’s Thor). I think the review/s that mention it being a bit like Neil Gaiman’s Sandman have got something there, too.
In any case, I have the second volume already, so we’ll see how that goes. But I may not be buying any more Wonder Woman after that.