While much of it comes together in the end—literally co-opting a trial sequence that stretches the limits of suspension of disbelief—the length of this tomb is not remotely warranted for all that is tied together and feels substantive. It’s an ungainly, uneconomical, highly perspective work of maximalist literature. No doubt, many maximalist works that are much more successful pull from these corners.

The flow was excellent but the actual meat of what was happening was not usually interesting. The last 100 or so pages were, but it made most of it a slog. The characters pontificating for literal walls of texts about various subjects felt forced, and sometimes laughable, given where they actually were. The dialogue itself would have taken the conversation all day, but it’s over coffee for an hour or something. Just far Too much relies on suspension of disbelief, and 75% of the actual murder plot is perfunctory. The best book ever written? I think not. It is fine for what it is, but no where close to the masters of maximalist writing, unfortunately.

3.5 rounded down, for the trudge (through multiple translations), and almost putting me in a reading slump. This emperor has maybe underwear on, but no clothes, otherwise.

Reading this with The Brothers Karamazov was particular gruelling during our Yuletide season of cheer haha. I guess I wanted to stay grounded. Anyway, thematically, and at a meta context, though not a Maximalist work, since it’s less than 1/3 the size of Brothers—it still manages to hit similar themes and deploys some similar literary devices, and, in my opinion, is the better book in every evaluation of the craft. (Including, not being 1000 pages to do it).

Rumination on the ignorance and grotesque manner people are twisted by what they believe in, especially when aligned with social constructs. Faith, belief, whatever, all are put into the microscope of multiple perspectives and done so in a meaningful way.

Obviously, don’t read this if you’re feeling too down regarding humanity, this doesn’t have that much hope in it. And a content warning for harm to children applies. Maybe not during the holidays, a normal person would pick this up, is what I’m saying.

This was fantastic. Everything about it worked for me: The colours are just brilliant, it’s non-western-centric, but speaks to the human condition. It’s quirky in the best way, subjective where it needs to be, and inventive. I am sure some people will want the world building to be further codified, but it goes against the kind of story it is to fix those kinds of answers on the page. What an absolutely gorgeous thing this is. An oversized edition comes out next year, how tempting.

Wow! If not for a slow start, I think this would have been a full 5-star read, for me. Wonderfully queer and subversive in its chronicling of women upending society through sex and art, and all while being grounded in a push-pull relationship between women that is truly dramatic and even shocking, at times. I did not see a few things coming and it made for wonderful shock value, the likes of which I’m not sure I’ve experienced in recent memory.

Probably one of the most powerful subversive commentary work I’ve read this year, save for M: Son of the Century.

This is a bit shaky but has enough going for it that I’m pulled in, interest piqued. Actually, it would be a better story, possibly, if truth wasn’t literalized—but then it wouldn’t be as attractive a package, either. The truth is, supernatural, fantastical things sell better, so the closest to exploring a story like this is, well, this. What I find clever though, is its inclusion and dissection of myth & popular culture and conspiracy theories in a way that educates the reader on them. It’s pretty valuable to see what’s out there and pervasive and tackle it head on with some kind of fiction, even if it is gussied up, like this.

This was a good and spooky and weird story that wraps up pretty nicely, but also differently than expected, yet not with a lot of punch. Some gorgeous and dynamic paneling and steady progress, coupled with an interesting gimmick to deliver narration keep it going, and above the chaff.

This felt very YA Downton Abbey to me: Rich people problems but somehow still endearing. The larger plot concerning the father was more satisfying than her figuring out her love life, and what was best for the family versus what she believed, at the time, was best for her. Sometimes sardonic, sometimes dry witty, and funny—it was strongest in the first half, for me, but a descent read.

I mean, Alex Ross, amiright? A fun, throwback type issue of the original FF, in which they venture into the negative zone. It’s quick, gorgeous, and generous with panelling.

What a great concept. Recontextualizing the ways in which the myth and legend of the fall of Troy through the eyes of the women of the story, this shows the barbarism and injustice surrounding the aggrandizement. As much as it’s told by women, from what I remember, it stays pretty true to the story, which means it’s told by the women—but it’s not their story, really. I both like and admire this tactic, as well as think it puts a damper on what can actually happen. The outcomes are codified.

It’s still valuable in what it’s pointing out, but even within the text it has to digress into other points of view and eschew some pretty central plot beats. Still, phenomenal when it’s hitting its notes. The voices of the women are very compelling.

I think this was better than the first one, despite being hindered by pacing. It further drills down into conspiracy theory origins, the psychological traction they have, and why, and has some more Who Are The Good Guys? stuff going on, in an exposition heavy, straight-forward plot almost solely existing to allow for the rumination on the subject. I find stuff like that fascinating and really love the art style. Very atmospheric and creepy. Builds to another cliffhanger, and I’m sure, just like the first one, it’ll be breadcrumb reveals to keep it going - which isn’t my favourite, but also kind of fair enough for the format.