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billyjepma's reviews
628 reviews
Batman: Detective Comics, Vol. 2: Gotham Nocturne: Act I by Ram V, Simon Spurrier
adventurous
mysterious
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Flaws of characters a main focus? Yes
3.75
The pacing of this series is still a little odd, as each volume seems to end without the usual period I’ve come to expect from a mainline hero book. But that’s part of why it’s working for me so well, and I like how Ram V is using the Detective Comics title to tell a broader story about Gotham and its protector. Even the deeper lore at play and its slants toward a “destiny” angle—which usually isn’t my favorite approach, admittedly—has my interest. I appreciate how Ram V is developing a symbolic, fated tie between Gotham and Batman. I’m not sold on the villains yet, but I’m willing to wait and see where they go from here. Two-Face’s and, to a lesser extent, Mr. Freeze's involvement is great, though. I love how the backup stories from Si Spurrier—who is always reliable—add to their roles with additional context and insight. Solid stuff!
My only major gripe is the art, which is often great but, like most books these days, has so many guest artists that it never settles on a satisfyingly cohesive look. I like the elements at play—a gritty, almost noir-like style with fantastical flourishes—yet lack the linchpin I usually prefer. I can’t fault the book too hard, though, since it’s increasingly become the standard, and the pages are usually in the “good” category, if not above that.
Bloody Rose by Nicholas Eames
adventurous
dark
funny
fast-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.5
A very solid 3.5-star read. It's just as fun and wild as the first book, and to Eames' credit, he can write a helluva action scene, which is good since this book is almost entirely made of action. It won't stick with me like the first book did, though, as this follow-up lacks that one's weary heroism and classic "getting the band back together" schtick, which was executed so well.
I like the new band of characters here and appreciate how different their defining characteristics are from those who came before. Eames makes great use of everyone's different battle styles and is clearly enjoying the challenge of creating new and colorful ways to decapitate and disembowel hideous beasties. That's where the book's easy readability and all-around entertaining qualities come from, and it was plenty enough to keep me turning the page. There's enough ingenuity in the staging and details of the action that I (almost) don't mind how Eames is riffing off (or outright copying) the final season of Game of Thrones. It does get a bit much by the end, though, as the battles become so large and frantic that they teeter on white noise. It doesn't completely undercut the stakes, but it comes close.
Admittedly, the characterizations are a mixed bag, especially the women in the book. I was worried it would be worse, but the titular character is held back by shallow motivations and conflicts that do fit the vibe of "a white man wrote this." There is solid diversity to be seen, which I appreciate, and Eames' heart is in the right place, making the limited nature of his characters a somewhat easier flaw to accept. But it is disappointing when his first book enjoyed such rich, familiar-but-layered relationships between its characters, and the follow-up comes up short. The romance is also half-baked and lacks the chemistry and believability I need to feel invested.
I still had a great time overall and will read a third book if/when it comes out. Eames has created a great world with these books, and even though his affinity for classic fantasy motifs can be a double-edged sword, it is infectious.
I like the new band of characters here and appreciate how different their defining characteristics are from those who came before. Eames makes great use of everyone's different battle styles and is clearly enjoying the challenge of creating new and colorful ways to decapitate and disembowel hideous beasties. That's where the book's easy readability and all-around entertaining qualities come from, and it was plenty enough to keep me turning the page. There's enough ingenuity in the staging and details of the action that I (almost) don't mind how Eames is riffing off (or outright copying) the final season of Game of Thrones. It does get a bit much by the end, though, as the battles become so large and frantic that they teeter on white noise. It doesn't completely undercut the stakes, but it comes close.
Admittedly, the characterizations are a mixed bag, especially the women in the book. I was worried it would be worse, but the titular character is held back by shallow motivations and conflicts that do fit the vibe of "a white man wrote this." There is solid diversity to be seen, which I appreciate, and Eames' heart is in the right place, making the limited nature of his characters a somewhat easier flaw to accept. But it is disappointing when his first book enjoyed such rich, familiar-but-layered relationships between its characters, and the follow-up comes up short. The romance is also half-baked and lacks the chemistry and believability I need to feel invested.
I still had a great time overall and will read a third book if/when it comes out. Eames has created a great world with these books, and even though his affinity for classic fantasy motifs can be a double-edged sword, it is infectious.
Content Warnings
Graphic: Death, Gore, Violence, Blood, and Injury/Injury detail
Moderate: Addiction, Sexual content, Slavery, Grief, Death of parent, and War
Minor: Confinement, Self harm, Fire/Fire injury, and Alcohol
Zatanna & the Ripper Vol. 1 by Sarah Dealy
mysterious
medium-paced
- Plot- or character-driven? A mix
- Strong character development? No
- Loveable characters? It's complicated
3.0
Not a bad read—the art is quite nice, with big colors and great lighting, but it’s also story-light, as there’s very little momentum before a cliffhanger teasing the next volume. The translation from webtoon to physical book isn’t seamless, either, and it wasn’t uncommon for me to feel like I missed something between panels or pages. The physical book itself is very good, though, so shoutout to DC for giving a webtoon a nice physical version with crisp pages that retain the vibrancy of the story within.
I also don’t love Zatanna’s characterization, which is more naive and helpless than I would expect from the character. She’s 21, and parts of the book reflect that age nicely, but for the most part, both the character and her book read younger. I’ll probably read more, but I can’t say it’s off to the best start.
I also don’t love Zatanna’s characterization, which is more naive and helpless than I would expect from the character. She’s 21, and parts of the book reflect that age nicely, but for the most part, both the character and her book read younger. I’ll probably read more, but I can’t say it’s off to the best start.
Content Warnings
Moderate: Blood and Murder
The Old Ways: A Journey on Foot by Robert Macfarlane
A totally captivating, often hypnotic, and always transportive reading experience that makes me more embarrassed than ever over how little non-fiction I read. McFarlane’s book is about the act of walking, but it’s also about the history of those who walk and the paths that they traverse. His writing is gorgeous, almost to a fault, at times, but is so melodic in its tempo and descriptions that once I tapped into the proper wavelength, I became fully enmeshed in the words on the page.
I love how biographical the book is, too, with each chapter functioning as a snapshot of a particular person and/or place that also works alongside the broader biographies (of time, location, people, concepts) the book is sketching. I’m very glad I took my time reading this, and I’m equally glad to have another of Macfarlane’s books waiting for me on my shelf.
inspiring
reflective
slow-paced
4.5
“…we are reading one of the earliest stories, told not in print but in footprint.”
A totally captivating, often hypnotic, and always transportive reading experience that makes me more embarrassed than ever over how little non-fiction I read. McFarlane’s book is about the act of walking, but it’s also about the history of those who walk and the paths that they traverse. His writing is gorgeous, almost to a fault, at times, but is so melodic in its tempo and descriptions that once I tapped into the proper wavelength, I became fully enmeshed in the words on the page.
I love how biographical the book is, too, with each chapter functioning as a snapshot of a particular person and/or place that also works alongside the broader biographies (of time, location, people, concepts) the book is sketching. I’m very glad I took my time reading this, and I’m equally glad to have another of Macfarlane’s books waiting for me on my shelf.
Content Warnings
Moderate: Medical content and War
The Immortal Thor, Vol. 2: All Trials Are One by Al Ewing
lighthearted
mysterious
medium-paced
4.0
I’m really enjoying how properly *out there* Ewing is going with this. It’s a very meta comic, poking fun at the comics industry with playful satire that also has serious teeth when it wants to leave a mark. Some of it does feel a little heavy-handed, but it works, especially since Ewing’s delivery throughout this run has been very arch. I’m hoping the various threads and tones he’s using come together eventually, but even if they don’t, I’m down for the ride if it can keep up this level of higher-concept comic book-ing.
Timeline by Michael Crichton
adventurous
mysterious
tense
fast-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
3.75
Does exactly what it says on the cover, which is all I hoped and wanted from it. Crichton is just so good at this stuff—he takes scientific principles and theories, converts them into vehicles for his sandbox-style imagination, and does so while explaining the science in ways that make the reader feel included in the inevitable epiphanies. As a Crichton book, though, it does suffer from some shallow characterizations, especially when it comes to the handful of women in the cast of characters. It's never outright offensive, but the stereotypes are unfortunate.
If you can let the time-travel shenanigans do their thing and go along for the ride, though, there's great fun to be had. Crichton's prose is as solid as ever and strikes an ideal balance between description and momentum. There's rarely a dull moment to speak of. Even though the characters are immensely forgettable, they're just likable enough to get the job done, especially when Crichton leans into the inherent silliness of his "fish out of water" premise. You can see where the story is going from the jump, but the secret to Crichton's success has never been the unpredictability of his plotting. Instead, it's his knack for turning familiar genre trappings into fun "summer blockbusters" that makes him one of those authors I'm always happy to pick up. This was a great start to my summer reading!
If you can let the time-travel shenanigans do their thing and go along for the ride, though, there's great fun to be had. Crichton's prose is as solid as ever and strikes an ideal balance between description and momentum. There's rarely a dull moment to speak of. Even though the characters are immensely forgettable, they're just likable enough to get the job done, especially when Crichton leans into the inherent silliness of his "fish out of water" premise. You can see where the story is going from the jump, but the secret to Crichton's success has never been the unpredictability of his plotting. Instead, it's his knack for turning familiar genre trappings into fun "summer blockbusters" that makes him one of those authors I'm always happy to pick up. This was a great start to my summer reading!
Content Warnings
Graphic: Blood
Moderate: Death, Gore, Sexism, Violence, Fire/Fire injury, and War
Minor: Rape and Pandemic/Epidemic
The Voyage of the Dawn Treader by C.S. Lewis
adventurous
lighthearted
mysterious
reflective
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.25
Against all odds, this is one of the two Narnia books I’ve never actually read, despite having grown up with the others and hearing from more than a few people that this one’s their favorite of the series. But hey, I get it now! This delivers on all the whimsical promises of adventure the series is known for, and does so with a focus less on plot or stakes and more on the sheer enjoyment, discovery, and transformation that comes from undergoing a great journey. Lewis’ descriptions of that journey might rank amongst his very best, too, and I loved how eagerly he seized every opportunity to introduce an exciting new idea or setting to his growing world. I also loved how openly he detests Eustace for much of the first act. It led to some excellent bits of comedy and made his eventual transformation all the more moving and effective.
That said, I do find it a little odd how Eustace essentially vanishes from the story after completing his character arc. After operating as the closest thing the book has to a protagonist for most of the first half (and a little more), Lewis seems to forget he’s still around, which is somewhat of a bummer considering how different the group dynamic would’ve felt if the new and improved Eustace had been more of an active presence. I feel similarly about parts of the plot, which has a general habit of getting distracted by side quests. But that’s a significantly less pressing critique since the book seems built as a near-anthology of mini-quests within a grander quest, and that structure pays off far more often and with far more success than otherwise. I don’t think it’ll replace my favorite(s) in the series, but it absolutely flew to the upper echelon. It was the perfect audiobook to listen to while going on various trips with my spouse this month.
Nightwing Vol. 5: Time of the Titans by Tom Taylor
adventurous
lighthearted
fast-paced
- Plot- or character-driven? A mix
- Strong character development? No
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
4.0
This is much in the lane I think the series thrives in—light, breezy superheroing. Taylor’s script uses a straightforward story—Nightwing and the Titans have to protect a little girl from her father’s mistakes—that, despite involving a literal demon from hell, acts as a comfortable backdrop for the perfect blend of charming, well-meaning heroism that Taylor has perfected in Nightwing. The character beats are sincere, the resolution has just enough dramatic oomph to trigger the desired endorphins, and I had a great time with it all.
Even the first artists subbing for Redondo—who shows up at the end with an entire issue told from a first-person perspective—are great and fit the more fantastical edges of this story nicely. And Redondo’s return with another “gimmick” is a welcome one, too. Drawing from a first-person perspective is a novel idea, and the execution is as impressive as you expect. Gorgeously vibrant colors from Adriano Lucas, stellar momentum, and a ton of personality in every panel—this art team is really something special.
Content Warnings
Moderate: Violence
Minor: Kidnapping and Death of parent
Nightwing Vol. 4 by Tom Taylor
adventurous
lighthearted
fast-paced
- Plot- or character-driven? Plot
- Loveable characters? Yes
3.25
It’s still as fun a read as ever, but the plotting is equally as loose, too. Normally, Taylor’s heavy-handed optimism and charming characterizations are exciting and refreshing enough to outweigh the general flatness of the storytelling. But when the plot tries to reach a climactic moment like this one does, it struggles to capture any real momentum or stakes.
Honestly, the landmark 100th issue included here is probably the weak link of the bunch for precisely that reason. Despite having a lovely scene between Dick and Bruce, the bulk of the issue features a rotating cast of artists—all with a history drawing Nightwing, which is a nice gesture—whose various styles don’t mesh together very well. It’s not a deal breaker since more comics than ever do this, but it’s always a little jarring, especially when the comic is trying to be dramatic or suspenseful. Again, it’s not bad, but it is distracting.
I’m growing a little tired of the Heartless side of things, too. Despite receiving some decent backstory in the Annual—and a nicely twisted parallel to Nightwing’s origin story—he remains a generic villain who I don’t find that interesting or intimidating. I’m ready for Taylor to either move on and find a new antagonist for Dick to deal with or, maybe better yet, forgo a villain entirely and lean into the comic’s playful slice-of-life style, which has always been and continues to be its strongest suit.
Content Warnings
Moderate: Toxic relationship, Violence, and Death of parent
Whalefall by Daniel Kraus
adventurous
dark
emotional
tense
medium-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
2.5
This took me on a ride, but not the one that either it or I expected. While the science behind the premise is in-depth and appropriately unsettling—the detailed anatomy and gore made this a tricky one to listen to while cooking dinner, tbh—and the actual problem-solving involved in Jay's attempts at survival is quite good, there's not enough here to sustain a novel. I'm not usually one to complain about "padding," but this book suffers from an excess of repetitive emotional beats and jarring flashbacks that feel tacked onto what could've and should've been a leaner novella.
It didn't take long for me to feel that padding, either. The flashbacks are haphazardly placed and often defuse the tension created by the gnarly survival narrative. They also lack the emotional depth required to enrich the story, which makes the flashbacks and dramatic scaffolding they're trying for feel tacked on at best. The symbolism and metaphors Krause draws aren't bad, but they're overwrought to the point of exhaustion. If the connections weren't repeatedly spelled out in exacting detail, I might've been more able and willing to get on board. But you don't get points for beating me over the head with a metaphor, regardless of how effective it might or might not be, especially when the goal of the metaphor is as frustrating as the tired trope of "maybe my abusive parent wasn't all bad, after all."
Let's talk about the abusive parent angle, too, because I have beef. My patience for a "redemption" arc is very thin when it comes to this brand of parent-child relationship, so this book had an uphill struggle right out of the gate. But when your protagonist's father is as cruel as Mitt, you've already lost me. Krause's attempts at making him sympathetic are admirable, and some of them even struck a nerve, but Mitt is too vile a character for me to want to care about. I don't even like Jay as a protagonist, either! He's more shallow than not, and, as much as I hate to say it, he comes off as whiny. It doesn't help that the audiobook's narrator plays up Jay's youth, emphasizing the more annoying aspects of the characterization. There's little depth in the characters, either; all their backstory and drama are so predictable and one-note that they end up feeling more performative than anything.
The book isn't all bad, and I really wanted to like it, too, which is why it became increasingly frustrating to realize that I just didn't.
It didn't take long for me to feel that padding, either. The flashbacks are haphazardly placed and often defuse the tension created by the gnarly survival narrative. They also lack the emotional depth required to enrich the story, which makes the flashbacks and dramatic scaffolding they're trying for feel tacked on at best. The symbolism and metaphors Krause draws aren't bad, but they're overwrought to the point of exhaustion. If the connections weren't repeatedly spelled out in exacting detail, I might've been more able and willing to get on board. But you don't get points for beating me over the head with a metaphor, regardless of how effective it might or might not be, especially when the goal of the metaphor is as frustrating as the tired trope of "maybe my abusive parent wasn't all bad, after all."
Let's talk about the abusive parent angle, too, because I have beef. My patience for a "redemption" arc is very thin when it comes to this brand of parent-child relationship, so this book had an uphill struggle right out of the gate. But when your protagonist's father is as cruel as Mitt, you've already lost me. Krause's attempts at making him sympathetic are admirable, and some of them even struck a nerve, but Mitt is too vile a character for me to want to care about. I don't even like Jay as a protagonist, either! He's more shallow than not, and, as much as I hate to say it, he comes off as whiny. It doesn't help that the audiobook's narrator plays up Jay's youth, emphasizing the more annoying aspects of the characterization. There's little depth in the characters, either; all their backstory and drama are so predictable and one-note that they end up feeling more performative than anything.
The book isn't all bad, and I really wanted to like it, too, which is why it became increasingly frustrating to realize that I just didn't.
Content Warnings
Graphic: Emotional abuse, Toxic relationship, Blood, and Injury/Injury detail
Moderate: Animal death, Cancer, Gore, Suicide, Medical content, Grief, and Death of parent
Minor: Vomit and Pandemic/Epidemic