Review: “A Game Of Thrones” by George R.R. Martin

Title: A Game Of Thrones
Author: George R.R. Martin
Series: A Song Of Ice And Fire, Volume I
Rating: *****
Publisher/Copyright: Bantam, 2011

I know, I know. How am I just getting around to this? As usual, I can only point at my groaning TBR shelf and jabber incoherently. I had actually never heard of it until the television show started and I was confronted with the promo image of Sean Bean sitting wearily on a throne made of swords. That got my attention, for obvious reasons. I’ve yet to see the show, given my well-documented position on watching adaptations before reading their original sources, but I’m told its incredible. With stars like Sean Bean and Peter Dinklage, I don’t doubt it…. Martin is of the opinion that anytime a character is placed in danger, you should fear for their safety. Characters die. Minor ones, and major ones. Frequently. Anyway, I’ll do my best to be spoiler-free here. This is one of those series where that matters….

A Song Of Ice And Fire takes us to Westeros, a fantasy realm where the seasons wax and wane unreliably, somehow tied to the ebb and flow of magic within the world. In this land, summer can last a decade…and winter can last a lifetime. The series is written in third-person, with each chapter being from the perspective of one of an enormous cast of characters. Eddard “Ned” Stark is lord of Winterfell and the northern half of Westeros, a sparsely-peopled expanse where it is not uncommon to see a light snow even on a summer morning. He and the king, Robert Baratheon, were raised together, closer than brothers, and together deposed the Mad King Aerys Targaryen fifteen years ago before placing Robert on the throne. Now Ned is summoned south to court to serve as Robert’s right hand. It’s a position he has no desire for, but doesn’t trust anyone else to guard his friend’s back and get to the bottom of some troubling questions. Ned was one of my favorite characters in the book, largely because he was the only truly honorable man in the entire book, though that may change as his children grow older. Oldest son Robb (age fourteen) doesn’t actually get his own POV chapters, but is nevertheless an important character as he tries to fill his father’s absent shoes. Ned’s younger son Bran served as one of the more surprising characters, becoming far more interesting than I had expected a lad of seven to be, but I can’t say why without spoilers. Additionally, Ned’s daughters serve as frequent narrators, both the naive eleven-year-old Sansa and her nine-year-old tomboy sister Arya. I liked Arya a lot, but Sansa’s ill-fated naivete had me ready to throw the book across the room in frustration at times. Future books should see less of that, sadly for her. Ned’s wife Catelyn Stark also serves as a narrator for large portions of the story, initially holding down the fort in Winterfell before setting off on her own journey for reasons that are redacted here. Ned’s illegitimate son Jon Snow* (age fourteen, same as Robb) travels north to the Wall and joins the Night Watch, keeping a lonely vigil against the supposedly-legendary threat of the Others, despite the fact that they’ve not been seen for thousands of years. One of my favorite characters of all was the dwarf Tyrion Lannister  despite the fact that he stands opposed to most of my other favorites for most of the book. The twisted, ugly youngest son of lord Tywin Lannister, Tyrion is under no delusions about his situation in life. His sister, the queen Cersei, hates him. His father blames him for his mother’s death in childbirth. Only Jaime, Cersei’s twin, treats him with any measure of decency. Unable to compete in the field of physical combat due to his stature and deformities, Tyrion has developed his mind as his best weapon, and unleashes it on all he encounters. His are all the best lines, and it is incredibly obvious who Martin’s favorite character is. Across the sea, Daenerys Targaryen, thirteen-year-old daughter of the deposed king, will have her own tangentially-related adventures as her brother marries her off to a nomadic horse-lord in an attempt to secure an army with which to reclaim Westeros. Despite the lack of overlap in this branch, Danaerys is set to become another favorite. Her adventures are not yet having any effect on Westeros as a whole, aside from some tension at court as news reaches them, but that will certainly change as the series nears its end….

Wow. What can I say about this? Martin’s prose is incredible, and I fully intend to further explore his bibliography both within and without this series. I love the use of multiple viewpoints, and the unreliable nature of these narrators adds an interesting factor to the narrative. Characters can be mistaken, and there are several scenes that are positively heartbreaking because we the reader know something the character doesn’t yet…and finding out could literally kill them. Plus, the information we’re given is all filtered through their perceptions–while there is little doubt that Aerys Targaryen was a lunatic, there are a couple tantalizing hints that his son Rhaegar was not nearly as vile a man as Robert and Ned believe him to be, and that the “kidnapping” of Ned’s sister that sparked the rebellion wasn’t quite as non-consensual as they believe. Occasionally you want to grab a character and shake them, force them to pay attention to vital information that is being disregarded because they have no idea of its significance, but of course that is impossible. Martin’s characters are also masterfully realized. Every single one that we spend significant time with is a fully-rounded, complex human being, and you sympathize with them. I even felt sorry for Cersei, albeit briefly, and the Hound keeps showing a core of deep humanity and compassion beneath his ruthlessness. If he didn’t work for the snotty little turd Joffrey I could probably come to like him…. The worldbuilding here is stellar, and I absolutely love the sense of history you get from the narrative. Positively Tolkienesque, and that’s a definite compliment. While this is fantasy, it’s not your typical romp. You can usually be assured that the protagonist will not only survive but triumph; not here. “In life, the monsters win.” Most fantasy is defined by the many different species, especially elves and dwarfs, but the only dwarf here is Tyrion, a dwarf in the historical sense–I’m not sure what the politically correct term is these days, I’m pretty sure “midget” is now considered derogatory, but I could be wrong. No elves either, the Children Of The Forrest are said to be long extinct. Of course, so were the Others, the White Walkers, and that turned out to be wishful thinking. Maybe the Children and the Giants still exist north of the Wall, but they don’t make much of an appearance here. There are elements of so-called “High Fantasy,” but the book is primarily a historical fantasy. Magic only slowly seeps in, starting off as largely dismissed by our protagonists and inexorably revealing itself to be alive and well. Dragons. Clairvoyance. Frozen wights that can resurrect the dead and turn them on their friends. As summer ends and magic grows powerful once again, one thing is clear: Winter is coming.

CONTENT:R-rated language, present but not gratuitous. Strong violence, often disturbing, and occasionally directed at animals. There’s a fair amount of sexual content, though its not rendered in unnecessary detail. This does, however, extend to some socially reprehensible acts such as incest and underage sex, along with quite a bit of discussion of prostitution and illegitimate children. There’s some magic, as noted, but I would class it as more fantasy-based than occultic, at least thus far.

*There’s a theory regarding Jon Snow’s true parentage that is widely regarded as the only good explanation for a number of inconsistencies that come up over time, but I’ll not be that guy and spoil the experience. Google it if you need to.

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Review: “X-Men: Magneto–Testament” by Greg Pak & Carmine Di Giandomenico

Title: Magneto–Testament
Writer: Greg Pak
Artist: Carmine Di Giandomenico
Series: X-Men
Rating: *****
Publisher/Copyright: Marvel Knights, 2009

“On Kristallnacht, my father wanted to fight. But then the Nazis might have killed my whole family. In the ghetto, I could have gutted a Nazi murderer. But then they would have killed a hundred Jews in retaliation. Two months ago, I could have pushed the Hauptscharfuhrer into the fire pit. But then they would have killed the rest of my work crew.

“So to save everyone, I did nothing. And guess what? They killed them all anyway….” (Max, issue #5)

Whoah. I mean….whoah. Magneto has always been one of the most interesting characters in the Marvel Universe, a nominal villain who seems to fight for the side of the angels almost as frequently as he opposes them. There are all kinds of Marvel villains who are irredeemable psychopaths (Carnage, Mr. Sinister, Apocalypse, the Purple Man, the list is endless), but Magneto is a different breed entirely, the most dangerous kind of villain possible: Magneto believes he is doing the right thing. His methods may be occasionally merciless, but Magneto is  a man who has lived through genocide once before and sworn to never again let that happen to his people. He could not save the countless Jews who went to the gas chambers under the guns of their Nazi overlords, but he’ll be damned if he sees the same thing happen to his new brothers, mutantkind. Given the human response to fear that which is different, and destroy what we fear, Magneto has come to the harsh conclusion that the only way to safeguard his people is to install a new world order ruled by mutants. To that end, he has at times served both as hero and villain. He’s a conflicted character, forged by tragedy. And now, with Magneto: Testament, we’re given the definitive story of his beginnings, from 1935 Nuremberg to the horrors of Auschwitz….and all with an eye to absolute historical accuracy.

In 1935, Max Eisenhardt was a simple German schoolboy. Top of his class, excellent athlete, he’s even managed to catch the eye of a pretty girl. Unfortunately, Max just happened to be Jewish, and Magda just happens to be Romany. Neither ethnicity is going to be able to weather the storm ahead, when the Nazi regime unleashes their Final Solution and institutes the most comprehensive and systematic genocide program the world has ever seen. From the Nuremberg Laws to Kristallnacht, Berlin to the Warsaw Ghettos and on to death camp of Auschwitz, young Max Eisenhardt serves to give us a new lens into this horrific period of human history….and a new insight into one of the most fascinating comic characters I’ve had the pleasure of reading.

This should go without saying, but this is not a happy book. An important book, one that punches you right in the gut and takes an unflinching (yet respectful) look at the deepest darkness of the human heart, but not one for young children. That said, this book could provide a very compelling supplement to a high school study of the Holocaust–it’s painstakingly accurate, annotated every step of the way with endnotes containing citations for facts and elements that are incorporated into the story, and even contains a teachers guide with suggested activities. I fully intend to add it to my own personal collection at some point when I have the funds. The book is compelling, well-written, and brilliantly haunting, yet at the same time treats the real, historical people who suffered in this most horrific of periods with the utmost respect. For example, the Nazi practice of tattooing the prisoners with their identification number. Showing that number on Max’s arm would be unremarkable, aside from clearing up some of the more geeky arguments about Marvel canon since there have been several different numbers used in different stories over the years. Yet the writer refrained. “We made the decision not to show Max’s actual number in this tattooing scene. The more I read the testimonies of actual survivors, the more uncomfortable I became with the notion of giving our fictional hero a number that a real human being once bore.” (Greg Pak’s endnotes to issue #4) The creators here don’t shy away from the horror of the Holocaust, even dealing with it more in-depth than some other sources due to Max’s status as one of the Sonderkommando prisoners who had to process the bodies from the gas chamber to the crematorium, but neither do they play it for shock value. Every effort is made to preserve the humanity and dignity of the real humans who suffered and died all those years ago. I respect that.

CONTENT: Minor language. No real sexual content, though there is some low-detail nudity as prisoners are stripped for the gas chambers and Max’s uncle (implied to be a bit of a hedonist) is paraded through the streets with a sign that says “I have shamed a German woman.” The violence here is occasionally bloody, but usually restrained in its visual representation. That doesn’t make it any less disturbing as characters are murdered, groups of prisoners gassed, and their bodies piled up or incinerated. Like I said, though I recommend this book wholeheartedly, this is not for young children.

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Review: “Locke & Key Vol. I–Welcome To Lovecraft” by Joe Hill & Gabriel Rodriguez

Title: Welcome To Lovecraft
Writer: Joe Hill
Artist: Gabriel Rodriguez
Series: Locke & Key (Volume I, Issues #1-6)
Rating: *****
Publisher/Copyright: IDW, 2008

I think I might be a fan of Joe Hill. You may recall a month ago I read and reviewed Horns, and now I’ve read Mr. Hill’s first foray into the world of comics: Welcome To Lovecraft, the first volume in a new series. Put simply: I’m hooked. I’ve always been fascinated by tales of ancient houses with hidden secrets, all the way back to one of the first Boxcar Children books I read when I was but a wee lad, and Locke & Key has enough secrets to keep Mr. Hill busy for quite a while. I very much look forward to seeing where this goes….

They say that when it rains, it pours. It’s certainly been pouring on the Lockes recently, but things may be looking up. Their father was murdered by a couple of psychotic former students, but now they have a whole new life on the other side of the country. They and their mother have moved in with their uncle at Lovecraft Manor, nicknamed the Keyhouse, a massive estate on an island in Massachusetts with more secrets than the CIA. Tyler, Kinsey and Bode are all dealing with their grief in different ways. Tyler is considering suicide, weighed down by the guilt of multiple fights and a particular conversation with the would-be murderer. His sister Kinsey is just trying to stay under the radar while she comes to terms with what happened. Little brother Bode has poured all his energy into exploring their new home, including its magical elements. Their mother has turned to drink to drown the grief. The last thing they need is more trouble, but that may not be in the cards when word comes that the murderer has escaped custody and is leaving a trail of bodies across the country….

Like I said, I’m hooked. I appreciate when a writer trusts his audience enough to put the pieces together themselves, and there are more than enough disjointed pieces here to keep you guessing. Is it initially confusing? Yes, a bit. But the mysteries are introduced gradually, and most of them should make sense by the end of the volume. There are, of course, others that remain unresolved for the moment as seeds for future stories, but that’s to be expected. In truth, there are two stories being explored here. There’s the modern story of the Locke children, and the older story you have to piece together from clues concerning the childhood of their parents. The art is perhaps not my favorite style, but I have to say that it works really well for this particular title. I honestly can’t wait to pick up the next title from the library….

CONTENT: Some sexual innuendo, nothing too explicit and no nudity. R-rated language. Strong, gory violence. I don’t know if I would classify the magic here as occult, but some might. Basically, there are a bunch of keys that fit the different doors of the mansion and that allow magical travel or transformations. One lets you go anywhere. Another lets you change sexes. Still another turns you into a ghost, lets you travel outside your body for a while. There are others, but those are the ones we’ve seen so far…..

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Review: “Saint Odd” by Dean Koontz

Title: Saint Odd
Author: Dean Koontz
Series: Odd Thomas #7
Rating: ****
Publisher/Copyright: Bantam, 2015

It all ends here. The three (or twelve, depending on how you look at it) year journey of everyone’s favorite fry cook now draws to a close. It should be no secret by now that I’m a huge fan of Koontz and his most popular character, and this final entry in the Odd Thomas saga was no exception even if a few elements left me underwhelmed. That said, it’s obviously not the best place to start the series.

If you measure a man by the enemies he makes, Odd Thomas counts among the giants. Several months ago his path crossed that of a malevolent cult of Satanists, this time ones that were actually tapped into some nasty supernatural powers. With the help of some new-found friends he thwarted their plans that day, but in doing so has painted a bulls-eye on his back. He is now their number one target…and it’s no secret who he is and where he comes from. If someone wanted to hurt our heroic fry cook, hitting Pico Mundo is a no-brainer. So, warned by a dream that is clearly more than the result of too much pizza, Odd is drawn back to his home town for one final confrontation. This time, what the cultists have planned will make the events at the mall years ago look like child’s play….

Like I said, I liked this one. I was a little underwhelmed by the eventual revelation of just exactly what was up with Annamaria, but I suppose that was only natural since Koontz has been teasing us with it since 2008. Given the eventual revelation, I think maybe he made it just a little too interesting for his own good–after that buildup, the answer was surprisingly uninteresting. The book could also have used a main focal villain as opposed to the faceless cult, and the series celebrity ghost cameos were also sadly lacking here. Other than that, I was more than happy with the book. Odd’s trademark humor was in evidence, as was the heart and soul that we have come to expect from the series. As a conclusion to the series, it was fairly satisfying if perhaps a little abrupt–you get the idea from previous books that there’s some grand service he’s going to have to perform for Annamaria before their adventure ends, but I guess that was me (and everyone else) reading too much into it. Maybe now Koontz will finally finish the Moonlight Bay trilogy?

CONTENT: PG-13 grade profanity, pretty standard from Koontz since his return to the faith. Strong violence, occasionally disturbing. No explicit sexual content, but there are some references to the subjects of rape and child molestation. As far as occult content goes, this is pretty comparable to the earlier books in the series. Odd sees the lingering spirits of the deceased, both benevolent and malevolent. The cultists serve a reputably-nasty demon, though the entity itself stays “off-screen.” I had no objections, but to each his own.

THE ODD THOMAS SERIES, BY DEAN KOONTZ
Prequel: You Are Destined To Be Together Forever
Book I: Odd Thomas
Book II: Forever Odd
Book III: Brother Odd
Book IV: Odd Hours
Interlude: Odd Interlude
Book V: Odd Apocalypse
Book VI: Deeply Odd
Book VII: Saint Odd
Manga Prequel Series
Odd Passenger (Non-Canon Webseries)

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Review: “Divergent” by Veronica Roth

Title: Divergent
Author: Veronica Roth
Series: Divergent #1
Rating: ****
Publisher/Copyright: Katherine Tegen, 2012

I know, I’m late to the party. I have this bad habit of avoiding high-hype books out of a sense of general stubbornness, not because I really doubt their quality (a certain series involving glitter-ridden “vampires” excluded, of course) but partially from general cantankerousness, partially from convenience (I heavily rely on the library, making high-demand books somewhat inconvenient at times), and partially from the fact that my “to-read” stack has become a full set of shelves, crammed to bursting, and lower-priority works have overflowed into a series of boxes until I can get things under control. This procrastination only gets worse when there’s a perception of market glut; i.e. “Twilight is big! Let’s ride this angsty faux-vampire thing all the way to the bank! Oooh….look at the sales numbers on The Hunger Games…..” This last is unfair, I know…there are some seriously good dystopian books coming out now. It’s just a matter of digging through the glut to find the gems. I’m hoping to read The Maze Runner soon, and I’ve heard good things about The Blood Red Road as well. In the case of Divergent, my sister is obsessed. Some of the other YA dystopian stuff she’s into holds no interest for me (Matched, for example), but this looked interesting. Plus, my wife wants to see the movie, and to watch it before reading it would be pure heresy. Thus, I borrowed my sister’s beloved copy and dove in (Thanks Chloe!)

In the unspecified future, Chicago has become a self-sustaining dystopian fortress. Within its walls, the citizens are divided into five factions based on their most dominant character trait–Amity, the peaceful; Abnegation, the selfless; Candor, the honest/impartial; Erudite, the learned; and Dauntless, the brave. Children are raised in the faction of their parents until the age of sixteen, when they take a test that tells them which faction best fits their character/thinking/instincts. They then choose their faction, once and for all. They are free to choose a different faction than their test indicates, providing some thin semblance of democracy, but once the choice is made it cannot be changed…and if you can’t make it in your chosen faction, you become one of the Factionless, the faceless untouchables that perform the menial labor for the entire city.

Beatrice “Tris” Prior has been raised in Abnegation all her life, but she doesn’t feel she really fits in. She wants to be good and selfless, but the fact is that politeness and seeing others’ needs isn’t what she’s good at. If she ends up in another faction, its likely she’ll see her family only on rare occasions (“Faction before Blood” is the motto of the new society), but Tris frankly isn’t sure she can stay in Abnegation for the rest of her life without going crazy. Things only become more complicated when her test comes back inconclusive–Tris could be suited for Dauntless, Abnegation, or even Erudite. The test overseer informs her that she is Divergent, and that to tell anyone her secret could get her killed. The test results are wiped and the overseer pretends there was a problem with the readings, while Tris leaves the test that should have given her guidance with only more questions. Right up until the moment she makes her choice, she doesn’t know what she is going to do, but once she decides there is no going back….

This book garners all sorts of comparisons to The Hunger Games, and I can see the similarities, but I think the differences are far more significant–and I think Divergent is better, on the whole. Both books feature an oppressive social system, a strong-willed female protagonist who narrates the work in first-person POV, and an incredible amount of violence perpetrated against children. At the same time, even these elements bear only a passing resemblance to each other. While neo-Chicago’s faction-based society is clearly flawed, it was founded with the best of intentions while Panem makes no bones about being a bloody dictatorship that televises an annual live-action adolescent death-match. Katniss and Tris definitely share similarities (bravery, a strong survival instinct, and the determination to protect those they care about,) but there are also marked differences. For one thing, Tris is a very active character. Most of what happens in the book happens because makes a decision and does something. Katniss is more reactive, largely as a product of the plot, but the former still makes for a more interesting character. Then of course there’s also Katniss’s angsty whining for the first half of Catching Fire, followed by her slow descent into madness during Mockingjay. I wasn’t too big a fan of those elements. Tris manages to still have a love interest without being quite so whiny about it. Just my opinion.*

The writing here was tight and action-packed, flowing so smoothly and keeping me so engaged that I’ve ended up staying up later than I intended several times over the past week, lost in the ruins of Chicago. That said, there are elements of Divergent that I’m a bit conflicted about. The world itself is overly simplistic, for one thing. And yet….maybe that’s the point. The idea of a society where everyone is defined by a single character trait is ridiculous, on the face of it, but on closer examination Divergent makes it work much better than I expected when I started the book. For one thing, the factions aren’t necessarily built around the only character trait that its members exhibit, but the one they want to emphasize. It can require bravery to be selfless or honest, or even simply to leave your faction and family for a new one at the choosing ceremony. You can have brave Abnegation, honest Amity, or even Dauntless who recognize that violence isn’t always the best option. Beyond that, there’s also the simple fact that this is a dystopian vision. A society based around these factions wouldn’t work? Exactly. That would be why it’s falling apart…. I am less thrilled by the underlying anti-intellectualism necessitated by the plot, but even here Ms. Roth makes it clear that its not learning and knowledge itself that is bad, but the underlying human nature–i.e., a lust for power. You see this moral decline in both the Erudite and the Dauntless, and to some degree even in Abnegation. If we explored Candor or Amity a bit more in this book, I suspect we’d see the same decay in their values, and I expect exactly that from the other two books in the trilogy. The problems we see come to fruition in the book are the result not of a particular character trait, but of each faction valuing their chosen ideal to the point where they dismiss or denigrate the others. The faction manifestos included in the back shine an interesting light on the original ideals of each faction, as well as how they’ve drifted from that original conception. The point was that each virtue was supposed to be the best way to ensure the common good, not that each virtue was an end in itself. Thus we see Dauntless emphasizing bravery in defense of the weak, and Amity admitting that fighting to defend another is also laudable. We see Erudite going out of their way to emphasize that while knowledge is a powerful tool, it must be wielded as a tool for the greater good and not a weapon for their own gain. If you’ve read the book, you’ll recognize how far each of these factions have fallen from their initial ideals…and the original good that underlies the corrupted society they’ve inherited.

Divergence itself confuses me a bit, and I hope this supposed anomaly is explored further in the next couple books. Initially, it appears that divergence is simply displaying the character traits of multiple factions, thus making the placement test inconclusive. If this is all it was, you would expect most people to be divergent, and this apparent disconnect is the source of quite a bit of griping from other reviewers. However, one of the effects of divergence is the ability to mess with whatever simulation they’ve got running in your head, thus implying its more of a neurological anomaly. Since the test itself is a simulation designed to force the subject into specific situations requiring particular traits, that fits, as does the apparent genetic nature of it. As for the apparent rarity of divergents, events soon prove that while they are not the norm they certainly aren’t as rare as everyone assumes. Two of the main characters prove divergent, as do at least two minor characters and several others that are only mentioned in passing.

CONTENT: Brief R-rated language, but otherwise PG-13 on the profanity front. Strong, occasionally gruesome violence, including a potential attempted rape. Some sexual innuendos and references, but nothing too explicit.

*Keeping in mind, I read Catching Fire on a very slow night at work, reading almost the entire first half at basically one sitting. That’s a lot of concentrated angst, and had I read it over a longer span of time I may have reacted slightly less negatively.

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Review: “Horns” by Joe Hill

Title: Horns
Author: Joe Hill
Rating: *****
Publisher/Copyright: Harper Collins, 2011

I’d been meaning to read some of Joe Hill’s work for a while, and just hadn’t got around to it yet. Then they announced that Horns was going to become a movie, and so of course I had to read it. Can’t commit heresy by seeing something without reading the book first, right? (I still haven’t seen it, but they’ve got my name on the list at the library for when it comes in.) In case you don’t know, Mr. Hill is the son of horror fiction’s crown prince, Stephen King, and has taken to his father’s craft with a vengeance. I’m not kidding when I say that every single book he’s produced has been recommended to me by one person or another, usually multiple times. I’ve mentioned before that in my limited reading of King I tend to not be particularly fond of the protagonist for one reason or another (there are exceptions, of course.) That’s not a problem Hill has, at least not here. The project here is ambitious–I half-imagine someone bet Hill that he couldn’t write a story with the devil (or more accurately, a devil) as the protagonist and make him sympathetic. Well, if that’s the case, Hill won the bet.

Until a year ago, Ignatius “Ig” Perrish was a saint. No, that’s not quite right–saints don’t typically smoke, drink, or spend the night with a girl they’ve not yet married (even if there’s no doubt in anyone’s mind that such an event is in their future.) Ig does all of these things on a regular basis. So, a sinner, but a good-natured one. All that changed the night his girlfriend, Merrin Williams, was raped and murdered in the woods. Ig was the only real suspect, as she had just broken up with him in a very public drunken shouting match at a local restaurant, but the case went cold for lack of evidence. Ig never got his day in court, and so never had a chance to prove that he didn’t do it. Even if he had, it may not have convinced anyone. Ig spent the next year a bitter, drunken wreck of a man. On the one-year anniversary of the murder, he spent the night drunk and doing terrible things. The next morning, he woke with horns growing from his temples–not that anyone else can seem to see, but they’re there. Also, people seem to be confessing their deepest, darkest desires to him, almost seeking permission to fulfill them. Skin contact reveals their most hidden secret sins they’ve committed in the past. Ig has no idea where this diabolical power has come from, but he knows what he’s going to do with it: find whoever killed the woman he loves, and give them Hell….

Like I said, a very ambitious book. The premise alone was intriguing, but the execution was simply masterful. I wholeheartedly recommend the book to anyone with a fondness for the horror genre, or that likes a story that’s just a little bit off the wall. I will warn you though, the book can be incredibly disturbing at times. There’s a whole section of the book told from the perspective of the killer, including the night of the rape and murder of Merrin Williams. The night I hit that section I stayed up reading long past when I had planned to stop, simply so that I didn’t have to go to bed still in his head and could reach the (comparatively) wholesome POV of Ig once again before drifting off to sleep. I didn’t want SPOILER OMITTED spending the night in my subconscious. The whole story is told somewhat out of order, starting the morning Ig wakes up with horns and then spending large chunks of time filling in the background through flashbacks as different revelations are made and need context or someone inadvisedly touches Ig and reveals their darkest secrets.

There are all sorts of issues with the book theologically-speaking, of course, but that’s not the point of the book and so I really won’t get into that here. Christianity, the church, and the Judeo-Christian God don’t come off well in the book, but that’s to be expected from a character who feels so betrayed and embittered towards Heaven. And really, given the treatment Hill’s father gives similar themes on a repeated basis, are you really all that surprised? I more or less expected something along those lines.

CONTENT: R-rated profanity throughout. Some gruesome and disturbing violence, including a rape and subsequent murder. Some explicit sexual content, including but not limited to the aforementioned rape (though this scene is played for horror, not titillation). The main character is becoming something along the lines of the traditional Judeo-Christian devil, including an array of diabolical powers. I think that probably counts as occult content.

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Review: “The Dresden Files: Fool Moon” (GN Adaptation) by Jim Butcher, Mark Powers, & Chase Conley

Title: Fool Moon Volume I/Volume II
Original novel by: Jim Butcher
Adapted by: Mark Powers
Artist: Chase Conley
Series: The Dresden Files
Rating: ****
Publisher/Copyright: Dynamite, 2011/2013

By now, I shouldn’t really have to explain my absolute love of Jim Butcher’s masterwork, The Dresden Files. I think I’ve made that abundantly clear on a repeated basis, whether reviewing the last couple books in the series (Cold Days, Skin Game) or either of the previous graphic novels–the prequel Welcome To The Jungle and the adaptation of the first book in the series, Storm Front. And now we come to the graphic novel adaptation for book two: Fool Moon, again in two parts that I will review together here. The general consensus among fans of the series is that the first two or three books are merely good, while every book after that goes up in awesomeness by something like an order of magnitude, and I largely agree. It’s been quite a while since I read the actual novel version of this (which means it’s time to go back and re-read the entire series!), but from what I remember this seemed pretty faithful to the book.

Harry Dresden is having a bit of a rough patch. I know, what else is new? With their friendship still strained by the lies he told to protect her back in Storm Front, Murphy has been calling him in for jobs less and less, which means that Harry is having to scrape the bottom of the barrel to find money for rent. All the same, Chicago has been mostly quiet on the supernatural apocalypse front, and for that Harry is grateful. Alas, it can’t last. People are dying at every full moon, and even a rookie would know what that means–there’s a werewolf in town. Harry had better figure out what’s going on quick, before more people end up as dog food….but that’s not going to be easy with “Gentleman Johnny” Marcone on his tail, along with a crew of suspicious Feds watching his every move, Murphy still not sure she trusts him, and a lycanthropic street gang out for his head. Why can’t it ever just be simple? Oh, right….because that’s no fun….

Like I said above, this was pretty faithful to the book. The only thing really missing was Dresden’s snarky humor as he narrates, and I’ll admit that I missed it a bit. The real downfall here though, and what cost it that fifth star, is the artwork. It wasn’t atrocious, it wasn’t even really objectively bad, but I didn’t like it. Partially, yes, it’s the fact that I still miss the stellar work of Ardian Syaf. I recognize that, and I need to get over it. But then, I don’t tend to be a fan of this particular style of art anyway. There’s also the fact that half the time I can only tell Murphy from Tera based on their clothes, and the female characters tend to be over-sexualized even when that’s not a part of their character. Susan, I get that. That’s how she is. Tera, likewise. As much time as she spends without clothes on shifting back and forth or as a distraction, I can see why she would be sexualized. I’m less understanding of Kim’s neckline–that’s not the kind of relationship she has with Dresden–and I highly doubt that Murphy would dress quite so provocatively (even if she’s fairly conservative compared to the others). There’s never quite anything that would send the book into Vertigo territory (were this DC), but the shadows and foreground objects get quite a workout keeping this book PG-13.

CONTENT: Brief R-rated language. Some gory violence. No outright nudity, thanks to incredibly-convenient shadows or foreground objects, but so close it’s almost no difference. Also….Dresden’s a wizard. There’s gonna be magic. You’ve been warned.

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