This volume isn’t quite as good as the last (mostly because of the filler material that it concludes with), and it has some of the same problems with trying to do diversity but sometime undermining itself. However, I still think the best superhero stories are the ones that pick at and play with tropes, and I haven’t seen anyone do that better than this series.

I love Astro City. It is definitely not perfect (the creative team is a bunch of white guys, and sometimes, that’s painfully obvious), but as far as I’m concerned, it’s the best wholesale reimagining of superhero tropes out there. I’ve read every single story in this volume before, and I read them now with a more critical eye than in the past, but I had a great time rereading them all. Glad that these large collections are on hoopla, and looking forward to reading the rest.

A recent episode of The Incomparable covered this book, and even though the reviews were mixed, it seemed up my alley, so I gave it a try. It’s very obviously a book of ideas and is sometimes clumsy and didactic. That said, I wish I had taken more time to sit with those ideas; I rushed through the book to finish it before my loan was up, and I’m sure I missed bits. Even when it’s clumsy (or when I missed stuff), the ideas are interesting though. What’s more, the worldbuilding is fascinating—not least because it is so focused on the Global South to find the settings, characters, and ideas of this imagined future. Even when the plot felt arbitrary or forced, I was so delighted by a book where “the West” was so deliberately absent and the background was so detailed that I enjoyed the whole thing.

This is a fun concept—a teenager named Clark Kent who’s tired of the jokes about being named after the fictional Superman suddenly develops Superman’s powers and has to figure out how to live with them. Busiek strikes me as the perfect person to write a story about how a world familiar with superhero tropes would deal with their becoming real, but as much as I love little bits of this story, I just don’t know that it will ever stand out as a favorite of mine.

I really wanted to like this more than I did! North and Henderson are one of my favorite creative teams in comics, and North’s dialogue and Henderson’s art come together in perfect ways throughout the story. At the end of the day, though, I don’t know if there was enough to that story or to the worldbuilding to really interest me. There are neat ideas in here, and the plot comes together in smart ways at times, but neither feels fleshed out enough to really stand out.

I’m a couple of days late on writing this post: I started listening to the audiobook within hours of Doctorow sending out Kickstarter rewards on Monday and had it finished within a day. I often introduce Doctorow to others by saying that his books sometimes read like op-eds—but that that’s a good thing. I found that to be true in this book. I don’t know that I liked it as much as Walkaway (though I never expected to like that one!), and I’m honestly not sure I followed all of the plot details (my fault, not the author’s). Despite all of this, I couldn’t help but give this full marks. The point of the story is clear, inviting righteous indignation about poverty and wealth; the characters and world are lovingly detailed in a way that made it come alive; finally, Wil Wheaton’s performance is excellent and only made the whole thing stronger (also, the end credits cracked me up). It’s only been two days since I finished it, but my next audiobook is still on hold on Libby, and I’ve been seriously considering giving this one another listen while I wait.

This book is one of the mainstays of the old Star Wars EU. I hadn’t read it in years, but after exploring some of the new canon and hearing the news about a likely remixing of it into a Dave Filoni movie, it seemed like a good time to revisit. The audiobook production was great, and even if I’m not planning to finish the trilogy, I enjoyed checking this title out again.

I have enjoyed going through this book. It’s the kind of book that invites personal action instead of just letting you read it, and that’s felt overwhelming at times (particularly as my life has gotten busier in recent weeks), but it’s a good invitation, and I know I’ll need to revisit this slowly and deliberately to get the most out of it.

I read (and listened to) a lot in the early months of this year and have hit a wall recently. This audiobook was a nice way to get back into reading; I’ve felt a hunger for Star Wars media recently, and this book came recommended on a podcast I’ve sampled. It’s fun to get more into the new canon: I thought this did a good job of setting up some of the Episode VII worldbuilding, and it reminded me of the fun I had reading through the old EU growing up.

I’m sure that I’ve read this before, and I expected to really enjoy a reread, so it was kind of a disappointment to, well, be so disappointed by it. The book is interesting for its interrogation of whether new technologies are less rich than old ones—an argument that has clear relevance today, as perhaps illustrated by Bradbury’s alleged reluctance to allow for an ebook version in the early 21st century. I’m not opposed to this kind of argument, but I think it’s easy for this kind of claim to get tied up in hand-wringing about civilizational decline and old/high culture being better than new/pop culture—and I feel like Bradbury ultimately has more to say about the latter than about the former. His 1990s comments about political correctness in the context of the book only seem to reinforce this impression, and while it’s maybe a product of the 1950s, the overwhelmingly Western and male identities of the lost authors the characters (themselves overwhelmingly male) are trying to hold onto makes so much of the book sound like it could come out of a far-right message board bemoaning so many leftist sheep. I was expecting a defense of the medium of the book, and I appreciate the questions about whether we spend enough time with critical thinking and silence, but I can’t help but see the book as an unjustified moral panic rather than the classic I think about it as.

After the weak middle volume in the trilogy, I wasn’t sure that I’d revisit the final one, but I’m glad I did. This book gets back to what made the first one so interesting: A mix of YA tropes, epistolary creativity, and moral complexity. It was self-indulgent at times, but it earned it by not shying away from the horror of the conflicts its teenage characters were the heroes of.

I wasn’t sure about this novella at first, which was a bummer because it’s beloved by the folks at The Incomparable. As I kept reading, though, I got sucked in and wound up loving it! It makes the most of its short length, easily working in the worldbuilding and even lampshading the tropes it uses to do so. The characters are fun, but what stands out the most is how deliberately and delightfully non-Western it is. I’d grabbed it off of an Afrofuturism and Afrofantasy display at the library, and it’s a shining example of that; it made me want to learn so much more about Egypt and its surroundings.

A few months ago, I began listening to the Radio Télévision Suisse show Babel again; I have an off and on relationship with the show and decided it was time for another on. I was impressed with an interview Siegwalt gave discussing this book and put it on my list. It turned out I could buy it from the Swiss publisher, which offered a flat 5€ shipping fee, even to have it sent here to Kentucky. It’s a very interesting book, one that articulates a need to redefine and rename God there where lived reality and its anxieties meets with tradition and community. I think there’s a lot I can take from it, but it’s also characterized by long sentences and academic French that put my comprehension to the test. I wish I’d read more of it in one go instead of dragging it over six weeks; I might have held onto more of the argument. So, my fourth heart in the rating is probably aspirational, but I think this has a lot to say for the journey Community of Christ is on (and me with it), so I’m confident I’ll come back to it.

This is a frank, vulnerable memoir that I learned a lot from; I’m glad for Kobabe’s willingness to share eir story. I also appreciated the art style. I’d been meaning to read this in print a while ago but had checked out too many books from the library and had to return it before I got to it. I’m glad it was available on Hoopla so I could read it on my phone instead of mindlessly scrolling through TVTropes.

This book has a lot going for it: Good worldbuilding, an interesting “disaster dominoes” plot, and a good audiobook performance. I love the first book in this series, so I ought to like this book too! I did enjoy listening to it, but I just don’t find the characters as interesting, and it feels more like it uses YA cookie cutter archetypes than the last book. Enjoyable, but not my favorite… and leaving me wondering about whether to finish out the trilogy.

Well, this is the last of the PDFs I got from the Humble Bundle, and I think that means I’m caught up on Saga in trade paperback format. I’m hooked, though, so I’ll have to find other ways to keep up with it!

Heck of a volume right here; I can see how it would be frustrating for the series to go on hiatus right after this, and I’m glad I’m reading the series post-hiatus. It’s interesting to see just how willing Vaughan is to change things up hard, and I wonder how this will affect the running themes of the book moving forward. As usual, it’s also fascinating to follow the beautiful, very weird art. Most of this volume takes place at an abandoned, derelict theme park. It’s a choice that is very weird but somehow fits this series perfectly.

This volume is a perfect encapsulation of everything Saga: I think it hits on all the main characters, it’s weird in delightful ways, it tackles heavy subjects (but sometimes veers into edgy for edgy’s sake), and it left me excited to read more.

At this point, I’ve read so much Saga this week that it’s hard to remember what happened in what volume. That said, even if Volume 7 ended on a downer, I remember that I liked what I read here.

I don’t know what it is about particular volumes of this series that makes them rise above the rest, but this was one of them. Maybe it was adorable Ghüs becoming a badass when needed or a father-daughter reunion or something else. Whatever it was, this series continues to deliver.

Still reading, still enjoying! It’s interesting to watch the stories and themes play out (sometimes slowly) over time.

I still love so much about this series and am looking forward to continuing it. Vaughan is blending together characters and plot threads in interesting and new ways, and I’m eager to see where he goes with it. This didn’t get as high as a review from me as the last volume, though. Maybe it’s because there was some more of the gore that’s my least favorite part of this, or maybe it’s because I don’t like media about couples going through rough patches, even if it’s well done.

Okay, no more caveats. I’m really into this series now. The themes (the difficult love of family and the creeping destruction of war) are more clear, and the art and weirdness continue to be excellent.

You know, I still feel like Saga leans into being a comic for adults by putting adult material in there just because it can. That said, I’ll admit that I have a certain amount of inherent prudishness that may be coloring my thinking there. More importantly, I enjoy the art, the story is getting better and more interesting, and I’m eager to keep reading.

I gave Saga a try a few years ago, but it didn’t quite work for me (or my prudishness), so as good of a reputation it had, I didn’t stick with it. I just got the first ten volumes through a Humble Bundle, though, and so it’s time to give it another try. I’m no longer bothered by swearing and sex like I was a decade (or whatever) ago, though I’ll admit that casual gore is not something that endears me to comics. I don’t know if I think this is the best comic ever, but I can tell why it’s beloved, and I’m excited to keep reading. The art is great, the characters are compelling, it’s delightfully weird, and I enjoy the use of Esperanto as an alien language. Looking forward to the next volume!