Kireth

3.5/5
Robert Stratton is an up-and-coming automaton developer in a world where scientists have discovered the Kabbalistic (ancient Jewish religious thinking in Hebrew language) names of objects, and animated automatons and health jewellery with them. The steampunk, pre-industrial English setting is a perfect backdrop as Stratton becomes involved in a secret society to prevent the extinction of the human race within the next few generations due to reproduction issues.

Following the recursive, almost programming-like relationship between ova name-injection and rapid large foetus growth, Stratton is blind to the motivations of others leading to moments of tense conflict. Clay sculptors, aristocrats and kabbalists assist him in seeing the letters needed to save humanity and continue personal, procreative agency.

Merged review:

3.5/5
Robert Stratton is an up-and-coming automaton developer in a world where scientists have discovered the Kabbalistic (ancient Jewish religious thinking in Hebrew language) names of objects, and animated automatons and health jewellery with them. The steampunk, pre-industrial English setting is a perfect backdrop as Stratton becomes involved in a secret society to prevent the extinction of the human race within the next few generations due to reproduction issues.

Following the recursive, almost programming-like relationship between ova name-injection and rapid large foetus growth, Stratton is blind to the motivations of others leading to moments of tense conflict. Clay sculptors, aristocrats and kabbalists assist him in seeing the letters needed to save humanity and continue personal, procreative agency.

Not necessarily my typical book, but that's what I love about book clubs and recommendations from others. Lucy by the Sea is an elliptical novel seated firmly in the mind of a just-past-middle-aged white female writer.

This had some surprising white people perspectives - the privilege of being able to tune out of troubling current affairs and having multiple spouses and extended family through multiple marriages. Despite these, Lucy did come from poverty and spends much of the novel connecting with, labelling and trying to understand others.

The time period of being set during the pandemic in Maine, USA allows for an interesting dissection of relatively recent events. There's COVID itself and all the anxiety, masks, lethargy and vaccinations surrounding it; the US presidential struggles and increasing political divide in the country; and human connection in a world of distancing and zooms.

I did enjoy this read, particularly the range of insights offered through the perspective being so close to Lucy and her memories. Will continue to venture outside my typical reading content.

A kind of return to the classic quests and mostly historical setting of the series following the dark third entry. Whereas the last book was quite focused in its plot, this one had a few storylines running concurrently, diverging and converging whenever appropriate. Percy, Annabeth, Grover, Tyson, Nico, Clarisse, the other campers and supporting Gods each have their own journeys. However instead of a mess, Riordan weaves a mesmerising story that's all about an individual's deeds and the impacts created by them. In a way that reminds me of the Avengers movies, there's something satisfying about seeing these characters after short periods of time and witnessing their interactions and growth, especially now the reader is really attached to them. Teenage romance was also a theme of this book, but didn't overtake the story and development which I appreciated. As usual, the humour was great, and the mystery really led to a “smack-yourself-in-the-forehead” kind of revelation which was entertaining. And I will never forget that cliffhanger ending for the finale.

Wow, first experience with Image comics and I loved it - there were so many ways Monstress stood out to me in the graphic novel medium. Firstly, you get dropped into the middle of this rich pseudo-steampunk/ fantasy land, full of power struggles and tensions that feel reminiscent of conflicts like WWII and the Cold War. The worldbuilding was immense but gave you just enough context to carry you through the journey of Maika Halfwolf, with flashbacks and a strong antagonistic group. Secondly, the art was gorgeous, with slanted lines between panels and a remarkable sense of pace and scale that adds to the sense of danger. Thirdly, whilst the characters were the weakest points they are highly fascinating both visually and in their slowly-revealed backstories. Oh, and how refreshing was an all-female cast, writing team and perspective? Am keen to continue this heavy story.

The theme of fear was clear from the opening. Having Batman's rogues escape without a good plot explanation was cyclical, but luckily there wasn't too much focus on it, instead on the new empowering formula they were taking. Some issues: the new villain White Bunny a) could've been explored with more depth considering the whole descent into madness thing and b) definitely should have had more clothes on. The other villains all seemed to be reading Bruce's monologue as well because they started talking about fear for no real reason. Also, Batman took a LOT of hits and I was left at times scratching my head at his superhuman nature. Everything else was good though, with some typical fights and clean simple art.