Planet Funny by Ken Jennings: Chortling Towards Bethlehem? or We Are Amusing Ourselves to Death

Planet FunnyPlanet Funny: How Comedy Took Over Our Culture

by Ken Jennings

Hardcover, 320 pg.
Scribner, 2018
Read: June 21 – July 6, 2018
This is going to be much shorter — and much more vague –than it should have been, because I was in a rush to get out the door on the day I took this back to the library and therefore forgot to take my notes out of the book. Which is a crying shame because I can’t cite some of my favorite lines (on the other hand, I don’t have to pick from my favorites). I’m actually pretty annoyed with myself because of this — I spent time on those notes.

I’m going to try to save a little time here and just copy the Publisher’s synopsis:

           From the brilliantly witty and exuberant New York Times bestselling author Ken Jennings, a history of humor—from fart jokes on clay Sumerian tablets all the way up to the latest Twitter gags and Facebook memes—that tells the story of how comedy came to rule the modern world.

For millennia of human history, the future belonged to the strong. To the parent who could kill the most animals with sticks and to the child who could survive the winter or the epidemic. When the Industrial Revolution came, masters of business efficiency prospered instead, and after that we placed our hope in scientific visionaries. Today, in a clear sign of evolution totally sliding off the rails, our most coveted trait is not strength or productivity or even innovation, but being funny. Yes, funniness.

Consider: presidential candidates now have to prepare funny “zingers” for debates. Newspaper headlines and church marquees, once fairly staid affairs, must now be “clever,” stuffed with puns and winks. Airline safety tutorials—those terrifying laminated cards about the possibilities of fire, explosion, depressurization, and drowning—have been replaced by joke-filled videos with multimillion-dollar budgets and dance routines.

In Planet Funny, Ken Jennings explores this brave new comedic world and what it means—or doesn’t—to be funny in it now. Tracing the evolution of humor from the caveman days to the bawdy middle-class antics of Chaucer to Monty Python’s game-changing silliness to the fast-paced meta-humor of The Simpsons, Jennings explains how we built our humor-saturated modern age, where lots of us get our news from comedy shows and a comic figure can even be elected President of the United States purely on showmanship. Entertaining, astounding, and completely head-scratching, Planet Funny is a full taxonomy of what spawned and defines the modern sense of humor.

In short, Jennings is writing about the way that humor — the entertainment culture in general, really, but largely through humor — has taken over the cultural discourse in this country, so much so that you can’t make a serious point about anything anymore without injecting a smile or a laugh. This could be subtitled, Neil Postman was right. Jennings looks at this phenomenon through a historical lens (mostly over the last century) and a contemporary lens — analyzing and commenting on both.

The initial chapters on defining humor, the history of humor and academic humor studies are probably the best part of the book — not just because of their scope and subject matter, but because how Jennings is able to be amusing and insightful while informing. (although the amusing part is problematic given the thesis of the book). I enjoyed learning about the use of humor in the 20th Century — who doesn’t associate the two? I don’t remember a time when the best advertisements/commercials weren’t the funniest (other than things like the crying Native American anti-litter AdCouncil stuff). But there was actually a time when that was looked down on? Who knew?

I also particularly liked the history of Mystery Science Theater 3000 and then pivoting that into a look on the way even entertainment changed in the last few decades because of the funny-ification of all things. Jennings gives a pretty decent defense of Alanis’ “Ironic” (while enjoying a few shots at it, too) — and the ensuing discussion of Irony the cultural waves embracing and shying away from Irony, Enjoying things Ironically, and a need for sincerity was excellent.

Politics, obviously, has fallen prey to this comedy-take over as well. From Nixon shocking everyone by showing up on Laugh-In to Clinton (pre-presidential candidate) on The Tonight Show to then-candidate on The Arsenio Hall show to every political player doing Late Night shows. Obama appearing on Maron’s podcast and Between Two Ferns (crediting that appearance with saving ObamaCare?) and onto the entire Trump campaign. At this point, the book got derailed — I think — by getting too political. If Jennings had kept it to Trump’s embracing/exploiting the comedy takeover, I probably would have enjoyed it — but he spent too much on Trump’s politics (while having ignored Nixon’s, Clinton’s, Obama’s), enough to turn off even Never-Trump types.

I’m pretty sure that the book was almost complete about the time that Louis CK’s career was felled by allegations of sexual misconduct — which is a shame, because Jennings had to go back and water-down a lot of insightful comments from Louis CK by saying something about the allegations while quoting the comedian. At the same time, it’s good that the book wasn’t completed and/or released without the chance to distance the man from the points used — otherwise I think Jennings would’ve had to spend too much time defending the use of those quotations.

I think Jennings lost his way in the last chapter and a half or so — and I lost a lot of my appreciation for the book as a whole at that point. On the whole, it’s insightful writing, peppered with a good amount of analysis, research, interviews, and laughs — outside of his weekly trivia newsletters, I haven’t read Jennings and he really impressed me here. In short, it’s a fun book, a thought-provoking book, and one that should get more attention and discussion than it is. I may quibble a bit with some of the details, but I think on the whole Jennings is on to something here — and I fear that it’s something that not enough people are going to take seriously until it’s too late.

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3.5 Stars2018 Library Love Challenge

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The Naming of the Dead by Ian Rankin: Rebus and Clarke find themselves in (well, next to) the middle of Global Politics.

The Naming of the DeadThe Naming of the Dead

by Ian RankinSeries: John Rebus, #16

Hardcover, 464 pg.
Little, Brown and Company, 2006
Read: June 22 – 25, 2018

           “Know what I think? I think all of this is because there’s a bit of the anarchist in you. You’re on their side, and it annoys you that you’ve somehow ended up working for The Man.”

Rebus snorted a laugh. “Where did you get that from?”

She laughed with him. “I’m right though, aren’t I? You’ve always seen yourself as being on the outside–” She broke off as their coffees arrived, dug her spoon into her cappuccino and scooped foam into her mouth.

“I do my best work on the margins,” Rebus said thoughtfully.

Rebus is on the verge of retirement — really, he’s about to be forced out, he’s at the stage of his career where many detectives would be just coming into the office and doing nothing — if not outright retiring already. And, truth be told, that’s precisely what everyone in the force seems to want (except for a few allies/friends), particularly the top brass. None of which Rebus has an interest in. He’s going to have to be pulled out, kicking and screaming — probably with someone barring the door after he’s out.

So when the G8 comes to Edinburgh in 2005, the police have their hands full with security, protests, riot preparations, and whatnot. They’re importing help from all over Scotland and even England. Everyone has plenty of assignments to deal with, everyone but John Rebus, that is. So when a clue comes up that might turn into something interesting on months-old murder case, he’s ready and raring to go. That evidence seems to point at multiple victims, too — so Siobhan Clarke is put in charge of that investigation, just please keep it quiet until all the important people have gone home (and yes, everyone is fully aware of the insult of putting the DS in charge of the DI on this one). Thankfully, there’s a suspicious-looking suicide that’s related to the G8 for Rebus to focus on.

At least one of the victims in Clarke’s case has an obvious connection to Big Ger Cafferty, too. Because why not make this all interesting? Big Ger’s the target of a local politician who happens to be making a lot of waves thanks to being in all the right places during the G8 protests, sticking up for his constituents and the cause of civility in the face of civil unrest. Rebus and Cafferty do their usual thing — Cafferty wants information so he can get his form of justice taken out of the murderer, Rebus needs information from Cafferty so he can prevent that. But at the end of the day here, Siobhan spends more time with Cafferty, despite everything Rebus tries to do.

Which is the crux of this novel, really. Rebus is at his career’s end, he knows it. The closest thing he has to a legacy is DS Clarke — and he wants it to be a good legacy. He wants to keep her from Cafferty’s clutches, from the dirt that’s dogged him for years due to guilt-by-association — as well as his actual influence. At the same time, he wants her to maintain that “work on the margins” attitude, while staying in good graces with TPTB. He wants Clarke to be everything he is, just without all the bad that comes from it. (I think she wants that, too, actually). Bringing me back to the point that this novel features Rebus fighting all involved for Siobhan’s soul.

In an interesting parallel, Siobhan’s actual parents are in town to take part in the G8 protests. There’s a young woman hanging out with them, almost like a temporary daughter (which really gets under her skin). She’s determined to spend some time with them, to show herself that she can have some sort of personal life — a family — and still be a good cop. To not be Rebus. At the same time, she so wants her parents to see her as a capable detective, not just someone in the midst of a defiant reaction to her parent’s lifestyle and beliefs.

Eric Bains shows up in a light I don’t think anyone expected, and I’m hoping that things turn around for him soon. I like the guy. He’s not Brian Holmes, but he’s a nice character to have around. There’s a reporter, Marie Henderson, involved in all of this, too (that’s her opining in the opening quotation) — I really liked her, and hope we see her again. Rebus seems to actually enjoy her company and intelligence — at the same time, as the co-writer of Cafferty’s biography, she represents everything that Rebus fears for Clarke.

I’ve not spent a lot of time talking about the cases — which are interesting enough, and watching Rebus not be careful around Very Important People from all over the world is fun. But on the whole, the cases felt familiar. Like we’ve been down these roads before — not exactly, and both held plenty of surprises, but they seemed like familiar Rebus/Clarke investigations. I might have been tempted to give his a 3-Star rating and move on.

BUT, Rankin won’t let me — because putting all of this right smack in the middle of the G8 conference — and the hullabaloo surrounding it (protests, concerts, marches) — the Bush bicycling incident, the London bombings, and the announcement of the Olympics coming to London — added so much to the novel. It grounded it in reality, it presented so many obstacles to the investigations (as well as distractions from the investigations) — as well as unexpected sources of help (police officers from other jurisdictions that had just the right kind of information). Plus all the “keep Siobhan from becoming Rebus” elements of the novel just captivated me.

Another winner. What else is there to say?

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4 Stars2018 Library Love Challenge

How It Happened by Michael Koryta: A great thriller to kick off your summer (and/or a Russo novel gone awry)

How it HappenedHow It Happened

by Michael Koryta

Hardcover, 368 pg.
Little, Brown and Company, 2018
Read: May 29 – 30, 2018

The rain had tapered off overnight and given way to a gorgeous day, the sky and sea competing for the deepest blue, a light wind pushing off the water, temperature nearing eighty. The air was scented with ocean breezes and pines and held only the faintest trace of humidity. A quintessential Maine day, more suited to July than May.

If you weren’t looking for a drug addict and self-confessed murderer, it would be a day to treasure.

This is one of those that comes down to the set-up. Because it’s executed practically flawlessly, and if you’re in for a penny, you’re in for the whole pound — and it’s a heckuva ride. You won’t want to get off until the end, and then you’ll be able to breathe for the first time in seventy pages or so. If you’ve read Koryta before, you have an idea what things’ll be like — and you’ll be right. If you’ve not read him before, you probably will make arrangements to familiarize yourself with him soon after finishing this.

So, what is the setup? FBI Agent/expert on eliciting/evaluating confessions from criminal suspects, Rob Barrett returns to the small Maine community of his childhood summers to investigate a missing persons case/potential double homicide. After weeks of work, he finally gets a seemingly reliable confession from Kimberly Crepeaux to what happened to the missing young people. It’s a harrowing confession, I have to say — I’ve read novels with less tension than her recounting of what happened that night. Kimberly is a drug addict, jailhouse snitch, and all-around unreliable person — everyone in town knows this. But Rob believes her (and you will, too).

But there are a couple of problems. Problem one: Mathias Burke is the man that Kimberly says is the murderer. Mathias is a go-getter of a young man, and has been since he was a kid — the dictionary might as well feature his picture under “industrious.” No one in town can believe anything Kimberly says about the way he acted that night — even the non-criminal aspects of it. None of it is characteristic of him. Problem two: the bodies aren’t where she says they were. In fact, they’re found miles away and seemingly killed in a different fashion, with the fingerprints and DNA of someone not Mathias Burke present.

So much for Kimberly’s confession — and Rob’s career. He’s shipped out to a field office in Montana, probably for the rest of his career.

But Kimberly sticks to her story, and convinces the father of one of the victims, Howard Pelletier, to believe her (and fear for her safety from Burke). Howard’s wife died when his daughter, Jackie, was young. He became the most devoted single father in history, and in time, she reciprocated. The story of Jackie and Howard would be enough for a novel, were it not for the murder. Howard’s insistence that Rob pay attention to Kimberly again and his need for answers brings Rob back for one more try at finding out how it happened.

Pretty good hook, eh? And like I said, once it’s set, Koryta reels the reader in just like the seasoned pro he’s become.

A strange thought occurred to me this weekend: this could very easily have been a Richard Russo novel — I’m not sure who the protagonist would’ve been — maybe the cafe owner or something. But Rob, returning to his childhood stomping grounds (however temporarily), Howard and Jackie would’ve easily have been fixtures — ditto for Mathias Burke (and even Kimberly, come to think of it). Mathias would be a major player, really — not the protagonist, but a lead character for sure, his troubled youth, his Horatio Alger-ish work ethic/success story, the way that this silly FBI interloper messed up his life, etc. The tangled lines connecting all these people would be seen more clearly, and traced back a generation or two, making everything more complex. Actually, the more I think about this, the more I want to see Russo write his take on these elements. Anyhow, this isn’t a Richard Russo novel — this is a Michael Koryta novel. So, it won’t be anywhere near as funny, the psychology will be presented in starter light, the tension level will be much higher, and the sense of right and wrong will be much less murky.

A knockout of a read — a great thriller to kick off your summer with.

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4 Stars2018 Library Love Challenge

A Question of Blood by Ian Rankin: Rebus Deals with Gun Violence on Multiple Fronts

A Question of BloodA Question of Blood

by Ian Rankin
Series: John Rebus, #14

Hardcover, 406 pg.
Little, Brown and Company, 2003

Read: April 19 – 21, 2018


I’m torn between quotations to open with, on the one hand, you have this one which captures the environment this novel takes place in — it’s a perfect encapsulation of the frustration of so many civilians. Particularly the ones in the town near the focal crime.

Fear: the crucial word. Most people would live their whole lives untouched by crime, yet they still feared it, and that fear was real and smothering. The police force existed to allay such fears, yet too often was shown to be fallible, powerless, on hand only after the event, clearing up the mess rather than preventing it.

On the other hand, this seems to be the perfect encapsulation of the sentiments of Rebus, Clarke, Hogan and so many (most?) of the police in this novel (and most police novels in general):

He checked the radio to see if anything bearable was being broadcast, but all he could find were rap and dance. There was a tape in the player, but it was Rory Gallagher, Jinx, and he wasn’t in the mood. Seemed to remember one of the tracks was called “The Devil Made Me Do It.” Not much of a defense these days, but plenty of others had come along in Old Nick‘s place. No such thing as an inexplicable crime, not now that there were scientists and psychologists who’d talk about genes and abuse, brain damage and peer pressure. Always a reason . . . always, it seemed, an excuse.

So the story is, an ex-SAS soldier walks in to a school, shoots three students and then kills himself. One of the students — the son of a local politician — survives. His dad sees this crime as an opportunity to get himself out of some PR trouble and some prominence — so he keeps popping up in inopportune places to grandstand and shine a negative light on the police. Which goes a long way to make a complicated situation worse for Bobby Hogan — the detective running the investigation. There’s not much to investigate, the only surviving witness has told his story, the culprit is dead — but there’s a lot of why questions floating around, Hogan’s got to try to answer some of them. Hogan knows two things: 1. His friend John Rebus was almost an SAS soldier, so he might understand the mindset of this man better than the rest, and 2. Rebus could use an excuse to get out of Edinburgh for a few days. The Army’s in town, doing what it can to shape the narrative — i.e. “this isn’t the way we train our men to be, maybe there’s something else going on.” Hogan’s having trouble getting anywhere, the press isn’t helping, and the evidence isn’t doing wonders for anyone at all.

I liked the fact that we’re dealing with Rebus’s military past again — it’s largely been untouched (at least to any real depth) since Knots & Crosses, and conversations between Rebus and Clarke show that he hasn’t talked to her about it at all. As much as the first book might have helped Rebus deal with some of what happened to him, it’s clear that there’s more t do. Hopefully, this is the start of it — at least to help him.

The more this crime is investigated, the less it looks as cut-and-dry as it was at the beginning. This was all wonderfully constructed, a strong multi-layered story that’ll keep the reader glued to the action to find out what happened (or why it happened). And it’s really not the best part of the novel — it could’ve been, easily. But no.

The reason that Rebus could use a few days away from home base is that he has a mysterious injury. One that could have a completely innocent explanation — or one that puts him at the center of a suspicious death investigation. There’s this creep who’s been stalking Clarke, threatening her. Rebus is seen at a bar with him one night, and the next day, he’s dead and Rebus is getting medical care that suggests he could have been present at the time of death. Clarke and Hogan believe him because he says he didn’t do it. Good ol’ Gill Templar isn’t sure (raising the question: who knows him best? Siobhan or Gill?), and frankly, none of Rebus’ legion of enemies in the police or press are less sure than Templar. There’s a little question about letting Siobhan fight her own battles rather than take the avuncular and/or misogynistic approach of helping her. The two get past that pretty quickly, but Clarke harbors a doubt or two about Rebus’ involvement.

Rebus, actually, wasn’t that concerned with protecting Clarke — he just used that situation to help him with another investigation. Which is typical of him. It’s this last story that’s really — in a way — the center of the whole novel. The events investigated, the motives for a lot of it, and the emotional core are all tied (at the very least) to this story. Rankin’s structuring of the novel in this way shows him at his best. And that’s really all I can say without ruining the experience for anyone (in fact, I arguably said too much).

Then there’s the last chapter == which is all I’m going to say about it — I’m torn. On the one hand, it seems to undercut a lot of the emotional weight of the climactic moments. But that doesn’t mean it wasn’t believable. It’s probably more believable than the alternative. Still .. . it left me dissatisfied. On the other hand, Rankin seems to be setting us up to revisit many of these characters in the future. I bet that’ll be worth it.

It’s hard to come up with things to talk about in a series that’s 14 books-old. It’s got to be hard to come up with things to talk about with a character that’s 14 books-old. Which might be part of the reason that Rankin circled back for another look at the end of Rebus’ time with the SAS, which definitely could use another look. How he did it — and the situations the characters found themselves in regarding that case,and all the others going on — is what makes Ian Rankin the modern legend that he is. A Question of Blood is one of those books that improves, the more you think about it.

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4 1/2 Stars

2018 Library Love Challenge

The Italian Teacher by Rom Rachman

The Italian TeacherThe Italian Teacher

by Tom Rachman

Hardcover, 336 pg.
2018, Riverrun

Read: April 2 – 5, 2018

I am going to say some nice things about this book, but the thing that kept going through my mind — for at least the first two-thirds — was: haven’t I read this before? There are a couple of Richard Russo books hidden here, one Matthew Norman — and I want to say DeLillo, Tropper and Weiner, too, but I can’t put my finger on which of those — and probably a few others that I don’t recall. That’s not necessarily a bad thing — we’ve all read plenty of books that are just variations on well-established themes. What I had to ask myself was: did Rachman have anything new to say with his take? Did he throw in some interesting twists to the mix? Was it a rewarding experience for the reader? I think my answers were: not really, sort of, and not particularly.

The novel revolves around Bear Bavinsky, a painter of renown, an iconoclast, a rock star in a pre-rock star age — and a serial monogamist on his second marriage when we meet him. He’s essentially a Jeff Bridges character. His son, Charles (nicknamed Pinch) idolizes him (many of his children do, but Charles doesn’t get over it the way most do). Bear is mercurial, irresponsible, unfaithful, arrogant, and incredibly charming. Really, the difference between Rachman’s Bear Bavinsky and Russo’s Donald “Sully” Sullivan is that Bear has money (that’s just to help you understand him, not a commentary on the character). When he turns on the charm, he can get seemingly anyone — detractor, fan, or something in between — to feel important, to feel pivotal, captivating, and so on. Most people shake off this effect after a couple of days (although they seem to hold on to a little bit of it for decades) — Charles never does. He spends his life striving for his father’s attention, favor, affection — anything. He shapes his life around those things which will hopefully get Bear’s approval — and when he fails (or at least, doesn’t succeed as he hopes) in the endeavor, and/or doesn’t get Bear’s approval he has a moment of clarity, stumbles into something else and then eventually falls back into the search for his Father’s approbation.

Ironically, compared to the rest of Bear’s kids, Charles has that approval. He just doesn’t realize it — and maybe it’s because the rest have given up and don’t seek him out as much. We follow Charles’ life from childhood, to adolescence (living with a divorced mother now), in college, early adulthood and then in his 50s. Striving for significance, striving for something beyond his reach — and yearning for his father. It’s a decent, if lonely, life — and could’ve been something better if he hadn’t allowed so much of it to be shaped by his father, what Charles things his father wants, and then listening to his father’s input when he really shouldn’t.

As the jacket copy says, “Until one day, Pinch begins an astonishing plan that’ll change art history forever…” It stops being a book that I’ve read before (mostly), takes on its own flavor — and gets worse. But your results may vary.

I thought Bear was an interesting character — but not one I wanted to spend a lot of time with. I felt too much pity for Charles to really get invested in him. No one else in the book was really worth the effort. The story was unimpressive and oddly paced. Which is not to say it’s a bad novel, it’s just not one I could appreciate that much. There were conversations, scenes, etc. that were just great. I kept waiting for there to be a moment (probably the “Until one day…”) that this book turned for me — like Rachman’s last one did — and it never came.

Maybe it was just my mood, maybe it’s my utter incapability of appreciating visual art, maybe it’s actually Rachman stumbling. I don’t know — this just didn’t work for me. Am I glad I read it? I think so — if only because I don’t have to wonder what the new Rachman book is like. I’m still giving it 3 stars because of the skill Rachman displayed — I just didn’t enjoy what he did with it.

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3 Stars

2018 Library Love Challenge

Good Guys by Steven Brust

Good GuysGood Guys

by Steven Brust

Hardcover, 316 pg.
Tor Books, 2018
Read: March 30 – 31, 2018

Kind of odd, isn’t it? I’m waiting for my chance to kill a complete stranger, and to kill him in an ugly and gruesome way, so I fill in the time by checking out local architecture and museums. How did I become this person? Well, put that way, it was simple: Some son of a bitch had destroyed my life, and he just didn’t give a shit. To him, I’d been another chance to climb a ladder, add zeroes to his bank account, have more people calling him sir. To him, that’s what mattered. Maybe there really is no satisfaction in revenge, but I can tell you one thing for sure: There’s no satisfaction in letting someone get away with ruining your life, either.

And the Museum of Science and Industry is as good as the hype, so there’s that.

In almost every Urban Fantasy series there’s some sort of explanation for how magic/magic beings/magic users/etc. is/are kept under wraps so that we muggles can keep living our lives unaware of what’s going on all around us. Some of it is a by-product of magic/the supernatural that just clouds our minds, some of it is the result of efforts of the supernatural community (or at least part of it) keeping it under wraps. In Steven Brust’s Good Guys, The Foundation is tasked (among other things) with keeping magic off of the radar of mundane people.

Now when you have someone like our above narrator, killing complete strangers in ugly and gruesome ways enabled by magic, that particular task gets more difficult than usual. Here enter our protagonists — a Foundation Investigation and Enforcement team consisting of a very skilled investigator, a young sorcerer, and someone who provides security for them — they might also pick up a little extra help along the way. The team works through a combination of old school detective work, magic, high-tech wizardry and gumption to find the connections between these victims and use that to uncover just who might be behind the killings.

The investigation is well-constructed and keeps the reader guessing and invested. Brust’s jumping between various perspectives is well-done — the touch of only the killer being in the first person is an interesting touch (most authors would have one or more of the Foundation team as first person, with the killer in third) — not just with the team, but with various other individuals within the Foundation, giving a real sense of the scope of this group. The characters are interestingly conceived and executed — the killer’s motivation is easy to understand (not saying it’s easy to sympathize with, but you have a hard time wanting him stopped at all costs). When the pieces finally fall into place, it’s very satisfying.

One of the nicest touches Brust gave this world is a tiny budget for the Foundation — for a global security and research enterprise, they seem to be operating on a shoestring budget — they certainly don’t pay their employees very well. I’m not sure why this tickles me the way it does, but unlike the Men in Black, S.H.I.E.L.D., or any of the other clandestine groups that fill our imaginations — these guys can’t just whisk around the world at the drop of the hat. They have to fly coach at one point, rather than use the teleportation ability of the Foundation.

The members of the team make very little, and live pretty solitary lives (it’s not like they can tell anyone what they do) — there was a humanizing moment for each of them at various points through the story considering a pet to help them fight the solitude (all different potential pets, too).

This was a solid thriller with some great Urban Fantasy touches, a very satisfying solution that rings true. Well-paced, well conceived, and well-executed — in short just what you want out of this novel. A very pleasant way to spend a couple of hours. I don’t think this is the first of a series — but if I’m wrong, I’ll gladly jump on the sequel.

—–

3 Stars

2018 Library Love Challenge

Wires and Nerve, Volume 2 by Marissa Meyer, Stephen Gilpin

Wires and Nerve, Volume 2Wires and Nerve, Volume 2: Gone Rogue

by Marissa Meyer, Stephen Gilpin (Illustrations)
Series: Wires and Nerve, #2

Hardover, 324pg.
Feiwel & Friends, 2018
Read: March 30, 2018

I’m really not sure what to say about this one. It’s part two of the story begun in Wires and Nerve where Iko is tasked with hunting down rogue Lunar wolf warriors scattered over the Earth. We also see what reforms Cinder is bringing to the Lunar government and what happens to the rest of the main characters from The Lunar Chronicles following Winter.

Honestly, I think I’m going to just copy and paste from the last book, because this is really just part 2 of that same story and my comments stay the same:

The Lunar wolf warriors are not just going to roll over, there are some that are preparing to strike back against Iko — and Cinder.

Throw in a love story, an examination of Iko’s true nature, and some nice catch-up with our old friends, and you’ve got yourself a fun story. It’s fun, but it’s light. If it were prose instead of a graphic novel, it might take 40 pages to tell this story. Which doesn’t make it bad, just slight.

I was shocked to see a different artist credited with this one — maybe my memory is shakier than I realized, but man…I thought it was the same stuff. Gilpin did a great job keeping the look the same. Yeah, cartoonish — but it fits the story. It’s dynamic, eye catching and fun — just what Iko’s story should be.

I’m glad I read these two, but I hope Meyer walks away from this world now to focus on whatever’s next. Read this if you read the first. If you’re curious about what happens after Winter, these two are a fun way to scratch that itch, but totally unessential.

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3 Stars
2018 Library Love Challenge