Book review: “The Martian” by Andy Weir (2012/2014)


The MartianThe Martian by Andy Weir

My rating: 5 of 5 stars

I am a vivacious reader, but very rarely am I truly surprised by a book. I spend most of my time reading books to edit for others, ARCs and galleys to review, or graphic novels and comic books for pleasure and review. Like all writers and readers, I have my tastes. Science fiction, fantasy, and action-adventure are some of my favorite genres, but because I critically analyze these genres, and I read an immense of content, I don’t often stumble upon a novel that captivates my attention by providing a high-quality read with the excitement of a new creativity. “The Martian” by Andy Weird delivers. It is riveting and fresh. It is reminiscent of highbrow science fiction films, but layered with nuance that only a novel can achieve.

I received “The Martian” as a galley via Crown Publishing Group—which is an imprint of Random House—and I chose “The Martian” based solely on its synopsis:

“Six days ago, astronaut Mark Watney became one of the first people to walk on Mars.

Now, he’s sure he’ll be the first person to die there.

After a dust storm nearly kills him and forces his crew to evacuate while thinking him dead, Mark finds himself stranded and completely alone with no way to even signal Earth that he’s alive—and even if he could get word out, his supplies would be gone long before a rescue could arrive.

Chances are, though, he won’t have time to starve to death. The damaged machinery, unforgiving environment, or plain-old “human error” are much more likely to kill him first.

But Mark isn’t ready to give up yet. Drawing on his ingenuity, his engineering skills—and a relentless, dogged refusal to quit—he steadfastly confronts one seemingly insurmountable obstacle after the next. Will his resourcefulness be enough to overcome the impossible odds against him?”

It plucked at my sensibilities in an abstract and I immediately requested it. It arrived a scant week later. I was graced with an ornate hardcover, a beautiful smell, and a gorgeous slipcover with an astronaut caught in Martian sandstorm. The colors are vibrant— Orange and red with a hint of a white spacesuit caught in the throws of survival.

In a word: Exquisite

“The Martian” follows NASA astronaut Mark Watney, a botanist and a mechanical engineer, on the third manned mission to Mars, Ares 3. The novel begins with a bang. Readers are not privy to the mission setup, crew members, landing, and the circumstances to Watney’s predicament. Without ruining the suspense and discovery, Watney is presumed dead and left on Mars (when in fact he is not) and is forced to survive on Mars without any means of communication till interplanetary comms can be reestablished or the next Ares mission arrives…four-years in the future.

The rest of the novel focuses primarily on Watney and his survival. Through the use of his mechanical and botany background, Watney comes up with some pretty ingenious ways to prolong his rations, Oxygen, water, and transportation. The narrative is primarily composed of Watney leaving logs for himself (or as a testament to his journey and untimely death), so the technical side to his endeavors are filtered through his warm and charming personality, which lightens what could be an overly scientific text— Changing a potential negative into a strong positive. Weir deftly avoids a common issue among science fiction writers with clever character development and use of perception.

The rest of the novel proceeds like Alfonso Curacao’s Gravity. It is deeply individualistic, but symbolic. The writing isn’t stretched by only focusing on a single character, because as the novel goes on it begins to layer in Watney’s support team on Earth. It provides a wonderful message of hope due to the global cooperation that is required to bring home an astronaut stranded on another world. “The Martian” doesn’t pull any punches or use its arsenal before the tale is done, either. It continuously builds upon the tension set by Watney’s survival till its climax. Its ending is extremely satisfying— One of the best that I’ve read in years.

After reading Andy Weir’s “The Martian” I was awed by the level of detail, character development, and sheer quality of the narrative. It is one of the best science fiction written and should be considered along the likes of Isaac Asimov and Arthur C. Clarke. If you get a chance try and read “The Martian” before the Ridley Scott-Matt Damon film adaptation, which is set to release in November of 2015— It is sure to be hit.

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Episode recap: Gotham S.1, Ep. 3 — The Balloonman


balloonmanGotham’s “The Balloonman” takes a much different tone than prior episodes—  You can almost see the visible growing pains as it flexes, to find its footing within the market of genres.  It is almost as-if the bloat of Gotham is weighing heavily upon the FOX’s executives’ and producers’ shoulders.  It is solidly placed, but they are still beginning to show signs of television fatigue.  That careful balance between cop show and comic book show still hasn’t been fleshed out properly by Gotham, but it stretches to get closer still with “The Balloonman.”

“The Balloonman” is the first episode to hit home on the episodic nature that Gotham needs to get into.  Like I’ve mentioned before, Gotham is struggling to appease comic book fans and television goers and—for granted—Batman is a force to reckoned with.  The iconic Caped Crusader has spawned countless successful media properties over the course of several decades and comic book-wise it continues to reach the top of the charts in terms of sales and accolades.  However, how do you make a series about Batman not be about Batman, and still keep fans coming back for more each and every week?  You make it a cop show centered-around the GCPD.

Gotham begins to hit its cop show stride with “The Balloonman.”  It begins to break away—albeit just for a moment—from the disjointed campiness of past installments, “The Balloonman” tries to shake its identity crisis by picking a formula and sticking to it.  Focusing on a criminal that is (you guessed it) attaching balloons to ‘legitimate’ criminals and sending them sky high to their deaths is more-interesting than past villains, merely because Jada Pinkett Smith’s overacted portrayal of Fish Mooney isn’t involved…anything without her is better.

However, even with the inclusion of a minor criminal that draw the attention of GCPD for just a moment is better than before, but it is still…well…Balloonman.  The episode tries to embrace a cop drama, but it is still executed rather poorly.  I praise the effort, but for Gotham to survive it needs to take a creative cue from similar supernatural cop dramas such as ABC’s ForeverForever takes a cliche premise, but back it up with a clever slant and an episodic quality that draws audience members for an hour-long, twisty and clever journey through the investigative process.

This is what Gotham needs to be.

The writing for “The Balloonman” is fairly straight-forward and there isn’t even an attempt at providing a feint or a ‘food for thought’ moment for the audience  The writing belittles fans in its simplicity, and if you are up to date on your actors and their respective appearances it will be quite easy for you to immediately spot the non sequitur…and thus the Balloonman.

Even though the writing is lackluster, I do appreciate the angle that they are trying to take, more-so than a superhero epic that is forced to exclude Batman due to the premise.  In my opinion, for Gotham to survive and be a multiple spanning series it desperately needs to become a ‘cop show.’  It needs to invest in providing in depth investigations with surprises and unusualness, all the while focusing on the character growth and camaraderie of Detective James Gordon and Harvey Bullock.

Unfortunately, at this juncture, television shows such as Arrow, The Flash, and Agents of S.H.I.E.L.D. are doing it better.  If you’re inclined to catch a superhero show to fill in the time between the films, check out the aforementioned shows, because Gotham isn’t cutting it…yet.

(SOURCE: Episode recap: Gotham S.1, Ep. 3 — The Balloonman)

Episode recap: The Flash S.1, Ep. 1 — The Pilot


The Flash - PilotI have never been so excited to watch the pilot of a television series.  And, to be fair I don’t usually get caught up easily in the hype of television.  Network marketing campaigns try to pander to universality, but even with this in mind I never have been so anticipatory for a ‘fresh-out-the-gate,’ new series.

I am a comic book nerd, and like all hobbies…I have my favorites.  As much as I love the CW’s Arrow, I was a neophyte to the topic.  Till recently, I had not read many Green Arrow graphic novels.  He just wasn’t a character that I was interested in at first.

However, the Flash (specifically Barry Allen) has always been one of my favorite comic book characters.  I love the lore and I have read nearly every Flash comic since 1985’s Crisis on Infinite Earths, so when the CW announced a television series based on the Scarlett Speedster I was ecstatic beyond belief.  Once the mid-season finale of Arrow/Barry Allen crossover aired to audiences last December, the idea of a quality Flash series was proven and solidified…and I was hooked.

The Flash pilot begins with a brief introductory scene showing Barry Allen as a boy and the traumatic event that goes onto to shape the rest of his life (think Bruce Wayne expect more-hopeful in the end).  From there, the narrative springboards to the present— Starting before the conclusion of last season’s Arrow crossover.

Barry Allen has just returned to Central City and he is getting back into the groove of being back.  In stereotypical Allen form, he is late to an investigation as the acting crime scene investigator but one of the cops at the scene (and adoptive father played by the talented Jesse L. Martin) covers for him.  With only a set of tire treads and manure, Allen inevitably discovers the whereabouts of the criminals via his laboratory—  The very place in which he gets struck by lightning and doused in chemicals.

Essentially, the beginning serves as an introduction to Barry Allen, the supporting cast, and the overall aesthetic of Central City, just as any good pilot should.  The casting and writing are excellent.  Grant Gustin play a believable, young Barry Allen.  He portrays all of the little nuances of the character—  He’s clumsy, he’s perpetually late, but he has a good heart.  He tries to do good, even when he doesn’t always have the means.

The cast is rounded out by Law and Order alum, Jesse L. Martin, as Barry’s adoptive father and Central City Detective.  Tom Cavanagh plays Harrison Wells, the brilliant (but mysterious) scientist, mentor, and ultimate creator of metahumans within Central City.  The rest of the cast are primarily unknowns, but unlike FOX’s Gotham all parts are played with a sense of realization and believability.  This is especially impressive considering the nature of the show.

The writing is just as well-constructed as the casting.  It is surprising how much is packed into the pilot; the writing team took great lengths to respect the history of the character.

The pilot segues to the Flash’s origin and roughly depicts the same events that were shown at the end of the Arrow episode, Three Ghosts.  It then passes nine-months (throughout the term of his coma).  This is where the show gets interesting.  It is the first series to show metahumans— People with powers.  This is momentous for television, because in times past when they have tried to depict superheroes with powers it has come off incredibly cheesy and quite often bombed with audiences.  With the exception of Smallville, which carefully skirted Superman’s power set for years, television series’ have not dived headlong into CGI and in essence true superhero shows till CW’s The Flash.

The Flash has no qualms showing Barry running at high speeds, and the show pulls no punches by showcasing one of his primary villains right out of the gate—  An individual who also has fantastical powers.  The show does a wonderful job of introducing audiences to one of DC Comic’s greatest characters.  It holds true to the lore with only a little bit of a shake-up in terms of arrangement for television purposes, but nothing so far off the mark that it contradicts its origins.  The CGI and representation of the metahumans is superb.  Considering what the budget must-be and the risk it is to shoot a television series with a heavy reliance of individuals with superpowers the risk-reward nature is successful.

There are a ton of little Flash easter eggs and references to the Flash comics, so check out last Tuesday’s pilot episode and see if you can spot them.  Countless upon countless articles and posts could be written about all of the little facets and feats that The Flash pulled off last night, and as time permits, I will most-definitely be covering them throughout The Flash’s first season.

And, if you glean anything from this review…watch The Flash Tuesdays at 8/7c.

Episode recap: Gotham S.1, Ep. 2 — Selina Kyle


Selina KyleThe second episode of Gotham already feels a little too at home in its time slot and station.  Holistically broken down, Gotham isn’t honestly that good.  This is difficult for me to write.  I’ve spent quite a bit of time breaking it down into its parts over-and-over again in my head, and I’ve come to the conclusion that I was misled by my own hobby.  I am a huge comic book fan, but I’m not a huge Batman fan.  However, most of the seminal Batman works I appreciate and I keep tucked away in my repertoire for when I write about comics and when I am asked about them.

This is where Gotham gets me.  It plays into my fandom.  Although, to survive on television it essentially has to be a cop show, because it cannot exist as continuing series merely focusing on all of the many characters of Gotham—  Even that would run its course quite quickly.  It has to be one to last, because the origin story of Batman, or a retelling of Miller’s Batman: Year One, is not enough to create a sixteen episode series that will last multiple seasons.

So when you start to breakdown the cop elements of the show, you begin to notice the poor construction of the show.  Basically the good cop (Detective Gordon), bad cop (Detective Bullock) follow a loose lead on the good cop’s intuition and goodwill—  From there they have a tussle with the bad guys (but they get away), the investigation hits a wall, and in a last minute saving grace the good cop figures out where the bad guys will be and the two go and bring ‘em down.

Ep. 2Both episodes have played out exactly like this, which unfortunately makes for uninteresting television.  It is bad, formulaic writing for a show that should be well-within its ‘Wow, it’s Mr. Freeze’ stage of its life.  But, that is where it hooks comic book and Batman fans, because now audience members are looking for the next Clayface and Penguin references, or when is the Joker going to crop up?  It is more about the minutiae and detail of the lore, rather than the quality of the television series.

Episode two runs the same gambit—  Street kids are being kidnapped off the streets, Gordon pushes to investigate, eventually they find out where some of the operations are taking place, there is a tussle, the villains get away, and the show wraps up with the good cop, bad cop duo tracking down the kidnappers and bringing them to justice.  There are two small subplots intertwined throughout the second episode:  One following Kyle as she gets entangled in the street orphan, kidnap plot.  The other as the Penguin begins his brutal climb to (hopefully and eventually) criminal kingpin.

The episode’s title, Selina Kyle, suggests that the episode is primarily about her, but she is relinquished to the background and only crops up as a means to further the fairly straightforward plot.  The writing is merely ok (this is self-evident in the title), but the acting is often muddled and overplayed.  It already has the marks of an aged show.

However, it’ll most-likely retain its numbers, because well…it’s Gotham.  It is Batman and it strikes a chord with comic book nerds (like myself) and the millions strong that hold Batman dear to their little nerdy hearts.  As TV show, Gotham is below average—  Not the worst, but with offerings like Sleepy Hollow and Agents of S.H.I.E.L.D. there is far better television to watch than Gotham this 2014-2015 season.

Our People


Statue of LibertyI found God on the back of a dollar bill.  He spoke with few words— Some might say only in sign language, but I could hear the shouts.  The eternal struggles of a people.  Not those who fled across a desert, but those that live in paper temples— Traded in their glass houses for something more-flammable.  Whoosh.

Our people washed ashore.  Broken…forgotten, but determined.  We slaughtered our way to the Golden Arches in a mere two-and-a-half centuries, and while the world laughed we kept quite till the bombs fell.

We stayed silent.

We bided our time.  The world came crawling…begging for our help.  Before we walked on the moon, we ended a Great War.  Now who was laughing?  Definitely not the sleeping giant—  We were proud.  We built great things, we defined generations with our ingenuity, we carved the face of the world in our nuclear image, but we stumbled…we bloated.

And, then the flies came.

They picked at our flesh and laid their eggs in the crevasses of our economy, education, and the very hearts and minds of our people.  We call ourselves progressives as hate runs rampant.  The peaceful have become weak.  There was once a time when the peaceful picked up muskets to fight a world power, and now Guerrillas do the same.

The giant is down—  Pinned by sticks and rope.  We traveled to lands with little people, but we were never meant to stand in quicksand…we were meant to stand tall.  Lady Liberty please light the way, again.  Please Lady Liberty…please.

Episode recap: Gotham S.1., Ep. 1 — The pilot flutters, but doesn’t sputter


Gotham CastRight off the bat (no pun intended), I will fully admit that I am not the biggest Batman fan.  He isn’t my favorite for a variety of reasons.  However, I don’t detest him and I have read quite a bit of the lore due the sterling influence of my wife (although Cap is slowly digging his shield in further…yay!).  I think that Christopher Nolan’s Batman trilogy is superb filmmaking and perhaps the best rendition of the Caped Crusader to date, and if the UK’s Rocksteady has any say in my video game habits I will (once again) be purchasing the CE of next June’s Batman Arkham Knight and blitzing through a spectacular campaign and all-around awesome game.

Nevertheless…I digress, my hate/love relationship with Batman is rather moot, considering that Fox’s Gotham is the Bat media in relative question.  I was trepidatious about the whole affair.  I felt that the media gurus at DC and Fox were pushing for something that couldn’t be successful.  It was announced early on that none of the DC properties would relate, so there was no hope for an Arrow crossover or any bleed through to the films, and the castings are mostly unknowns…and comparatively young— Taking a page from the casting news of Fox’s Fantastic Four reboot, releasing 2015.

Gotham - Poison IvyIf I was going to watch Gotham I wanted Batman, not boy Wayne and the teen villain brigade.  However, what I did not expect…happened.  Instead of focusing on Bruce Wayne and the Batman, Gotham focuses on a young (not yet, Commissioner) Gordon and the exploits of the Gotham Police Department.  Throughout the GCDP’s ongoings and happenings audiences are privy to a plethora of Gotham City easter eggs.  This was a pleasant surprise because it takes a well-worn and critically acclaimed page from Frank Miller’s Batman: Year One (1987).

We get to see Poison Ivy as a girl, Catwoman as a thieving teenager, the Penguin as a conniving subordinate, a young comedian yet touched by chemicals, and a host of other side characters in the Gotham universe.  It is quite interesting, and I found myself giddy guessing who was whom and how their futures would eventually intertwine within Gotham.

Ben McKenzie plays a fantastic young, Detective Gordon.  His voice is just gravely enough, and he plays the part of the outsider trying to do good in a corrupt city.  The show primarily follows Gordon and his partner, Harvey Bullock (played by the talented Donal Logue).  The pilot starts out strong and in manner that I did not expect—  It was almost surprising.  Throughout the pilot’s plot (a murder investigation), Gotham sets the tone, mannerisms, and host of characters to be fleshed out in future episodes and seasons.

Gotham - SceneThe only downfall to Gotham is that it seems geared to fans who know a little bit more about the comic book lore and healthy does of knowledge concerning all of the nuanced characters of Gotham and how they relate.  This is great for an old school comic book fan like myself, but in inquiry I found that quite a few people found the show corny at moments and not as cohesive as Arrow, or its older, quality counterpart, Smallville.  More often than not, these individuals are willing to give the show a couple more episodes to see if they’ll warm up to it, but the general consensus is that was good but not great like comic book fans are making it out to be.

Nevertheless, I am willing to give it more time to come into its own.  It hooked this anti-Batman fan, and I am curious to see if Gotham can be groundbreaking or not— Time will tell.  Check back here next week for a recap of the second episode of Gotham airing on Fox on Mondays at 8/7c.

Book review: “Sleepy Hollow: Children of the Revolution” by Keith R.A. DeCandido


Sleepy Hollow: Children of the RevolutionSleepy Hollow: Children of the Revolution by Keith R.A. DeCandido

My rating: 3 of 5 stars

Adaptations hardly ever do the source material justice. In fact, they often do just the opposite. They bomb. They are truly awful. Video game adaptations of film and televisions suck. Film adaptations of video usually bomb as well— Truly bad.

Books are not exempt from this unwritten rule, either. More often than not, novelizations of films and televisions are usually half-assed…they’re easy ways for publishers and TV shows to make a quick buck. Hardcore fans love ‘em, because they fill in on the lore of their favorite media properties but they lack in the quality department. Ultimately, they usually end up in a bargain bin somewhere dusting away.

“Sleepy Hollow: Children of the Revolution” by Keith R.A. DeCandido is one of the few exceptions and counter-examples to the aforementioned rule. It reads well. From a technical standpoint it reads akin to that of a script from the television show. Most of the scenes are expressed in third-person via Ichabod Crane, and the plot line closely follows Crane and his partner Abbie’s exploits in modern day Sleepy Hollow.

One of the largest complaints that I usually have with book adaptations is their bare bones quality. They’re oft difficult to read. The writing is either done poorly because of time constraints (or a less-than experienced author), and the meat-and-potatoes of the novel suffers making it almost unreadable. DeCandidio has knowledge of the craft. Whether he was in a time crunch (or not) he pulls it off, and if you’ve ever read any decent third-person, supernatural themed novel then you’ll enjoy “Sleepy Hollow: Children of the Revolution.” Its construction is solid.

Plot-wise it places in the midst of the first season— Right between the episodes, The Golem and The Vessel. The catalyst of the novel stems from a vision that Crane receives from his wife, Katrina, concerning medals bestowed by George Washington during the Revolutionary days. Moloch and his minions want the powerful relics for evil, thus the witnesses (Crane and Abbie) need to thwart them to further their objective of saving humanity. It follows the rough formula of each episode of the series, but it cuts nicely between two episodes to bring readers a little more information and insight into the characters and overall arc of the series.

All-in-all, “Sleepy Hollow: Children of the Revolution” is a good read. It is solid in its own right as a supernatural thriller, and it pays fan service nicely to the acclaimed television series. It is definitely worth the gander.

For more information regarding the Sleepy Hollow television show and related media check out ARSchultz’s website (ARSchultz.com) and Facebook page. And, don’t forget to check out the sure-to-be amazing premiere of Sleepy Hollow season 2 tonight on FOX.

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Salt Lake City Comicon 2014: The World Premiere of SyFy’s “Z Nation”


Z Nation LogoLast week, during Salt Lake City’s 2nd annual comicon, one of the last panels of the show premiered SyFy’s newest television show, “Z Nation.”  One of the presenter’s had been featured in numerous SyFy feature length films and as she put it, “I’ve been killed, and often.”  The second presenter, Michael Welch, is actually apart of the ensemble cast and hosted the ‘Q&A’ format after the credits had rolled on the pilot episode of “Z Nation.”

For those of you that don’t know “Z Nation” is set in upstate New York (at least on the onset of the pilot), but was primarily shot right here in good ol’ Spokane, WA.  Even though, they never call attention to the fact that it isn’t Spokane, native Spokanites can spot the thicket of pines, sleepy city locales, and myriad of lakes that make this region famous and unique to the rest of the country.

“Z Nation” is an interesting beast though.  It harkens back to old school zombies flicks like any of Romera’s cannon and it does so with gusto.  It doesn’t pull the punches in that quirky, dark sense of humor kind of a way.  It shouts “campy” at you, but for an old school zombie lover like myself…I loved it.  It was catchy and effectively paid homage to the genre.  Not every moment has to be gritty and realistic, sometimes you can let go and have fun with it like filmmakers used to, back in the day.

MILD SPOILER

In particular, there is a great scene involving the group cast, the discovery of an alive, intact baby, and the decision making and consequences that ensue.  To be warned, it is not for the faint of heart.

END OF SPOILER

Z NationHowever, like a well-worn and bloodied coin, “Z Nation” does a hold a flame to AMC’s famed “The Walking Dead”—  And, it does so quite cleverly.  It takes the situations that the characters are dealt and the consequences of a zombie invasion and pits them in a real world context, much like “The Walking Dead.”  How the characters’ behave, proceed, and deal with one another is fairly realistic considering the circumstances.

The pilot does an excellent job introducing the main cast, the time frame, setting, and overall goal.  As an audience member, you could see the logical line of progression and how several seasons worth of episodes could be produced without breaking away from the plot line (e.g. think Star Trek’s “The Voyager”).

Ultimately, I think “Z Nation” has good odds of striking a dent in “The Walking Dead” market share.  “Z Nation” does a little bit of both—  It’s campy like the old shuffle and blood zombie flicks and it tackles supernatural problems with real world engagement.

I recommend at least checking out the pilot for the deciding vote.  At the very least, I see a strong cult following for this television show, and as for me I’ll be buckled in for the native Spokane scenery and strong allure of the zombie.

Book review: “Words for Pictures” by Brian Michael Bendis, foreword by Joe Quesada (2014)


Words for Pictures: The Art and Business of Writing Comics and Graphic NovelsWords for Pictures: The Art and Business of Writing Comics and Graphic Novels by Brian Michael Bendis

My rating: 4 of 5 stars

“Words for Pictures” is an interesting text— More-so because it is exactly that: A textbook. The author, Brian Michael Bendis, is a writer that I have read for years; he has written some of my favorite superhero tales from the modernization of the New Avengers to his current X-Men runs to the stellar Secret Invasion and Age of Ultron Marvel events. He is the quintessential rockstar of the comic book world, or as he would put it: Comic book famous.

Rarely do audiences get to see the man behind the curtain. We get see their art, but we are removed from their perspective and upbringing. How did they get into the comic book industry? What drives them to write or draw? Where did they go for schooling? How does the editorial process work? How do I become published in the comic book industry?

There are a myriad of questions that get lost in the shuffle of the work, which is not necessarily a bad thing but sometimes there are people who want to know more. The final product, whether it be a piece of writing and/or art or an amalgamation of the two such as comic or graphic novel, should be viewed in the most holistic light as possible, but there are some of us who want to peel back the layers and learn more about the industry and the process to better understand the human experience.

Luckily for us, Brian Michael Bendis followed in the footsteps of the greats before him and created “Words for Pictures,” which is along the same lines as Dennis O’Neil’s “The DC Comics Guide to Writing Comics,” Alan Moore’s “Alan Moore’s Writing for Comics,” and Will Eisner’s “Comics and Sequential Art.” It is a modern guide for the aforementioned who want to learn more about the industry. Whether you are curious about breaking into the business or are merely a perspective reader, “Words for Pictures” strikes a chord.

The book covers all aspects of the industry. It begins with a thoughtful introduction by Joe Quesada praising Bendis for his work and ability to create such a guide whilst anecdotally speaking of his own career. The book then segue-ways into the basics and career of Brian Michael Bendis as a writer and educator, as described by him. As he starts to get into the nitty-gritty of script writing he begins to have fellow writers interject and describe their own writing processes and collaborative efforts with fellow artists. This is a unique and clever structure, because it allows the reader to see Bendis’ methodology as well as several others which begins to coalesce into working idea of the readers’ own take on the writing process.

The middle of the text unfortunately becomes a little dry. The narrative shifts abruptly to focus on the artists. This normally wouldn’t be a negative, but the information is conveyed poorly. Essentially a large group of artists were gathered (or at least their responses were) and given a series of questions. This style was executed poorly because as a reader you are subjected to a main question and then the artists’ dozen or so follow-up answers that were merely the same ones reiterated over-and-over again. After the first ten-pages or so of the interview responses they began to blur with another and I was loosing sight of the information being presented. I ended up taking a breather and coming back to it, to finish that particular section.

However, the final portion of the book closes out with a bang and ticks up wonderfully. It is chalked full of helpful inspiration for writers at all stages in their career. There is an entire section devoted strictly to the editorial and submission process, another focusing on the business aspect of writing as told by Bendis’ wife and business partner, a FAQ, and finally tips and tricks of the trade which includes what it truly means to be ‘a writer’ as described by Brian Michael Bendis.

All-in-all, “Words for Pictures” is a fantastic text. It comes from the heart of an educator, but more importantly, the mind of a writer. It touches base on all the important facets of the comic book industry and creative process. Save for a brief dry spell in the middle, I would recommend this book to anyone interested in furthering their knowledge of the craft and business of making comics.

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