Thor: Ragnarok, a review

If you know Norse mythology, you know that Ragnarok is basically the doom of Asgard. It is the end of all things. Can Thor, god of thunder, stop the cataclysm from happening?

Going by the first minutes of the film, yes. Yes he can.

When last we saw our intrepid Avenger, Thor had flown off in search of the Infinity Gems (the shiny MacGuffin devices from half the franchise). Finding none, he is now in search of the cause of his dreams: dreams of Ragnarok. It leads him to Surtur … some sort of magma …Satan … thing. Surtur monologes a bit about how he will destroy of of Asgard, bwahahahaha … and Thor interrupts him for some comic moments, and we’re off.

However, the end of all things isn’t quite averted. Hela, goddess of death, has been trapped for half a million years, and she’s out, she’s pissed, and she’s ready to rule everything.

So, nicely epic. But can they pull it off?

Largely, yes.

After resolving some dangling plot threads in Thor’s arc, we go straight into the film. When Hela is released, Thor and Loki are the first people she sees. Due to a problem with the Rainbow Bridge, the brothers don’t get a full confrontation with Hela, but are thrown onto an alien planet. Thor is captured via cheap technology tricks, and is thrown into a gladiatorial arena owned by Jeff Goldblum….sorry, the “Grandmaster.”  Yes, Jeff has tired of playing with dinosaurs, and wants to play with comic book characters instead. At least he left his stutter at home. It’s all very strange.

Then again, the whole film is strange from start to finish. There is a definite departure in tone from the other Thor films, giving it more of a Guardians feel. Thor, the deadly serious, makes for a surprisingly good slapstick artist. I was surprised. I think I laughed at this one more than I did at Guardians.

All in all, this was straight up fun. There are shoot outs that make me think of Flash Gordon (the one with Topol, Queen, and Max von Sydow) to such a point that I thought excerpts of the soundtrack would start playing at any moment. At one point, “Pure Imagination” does start playing. Yes, really.

There’s comedy. There’s some well-done plotting. Nothing is really forced (okay, one scene is, to be discussed below). I’d even say the Pulp crowd would be entertained, given that we have a space ship firing a machine gun at Fenris while a horde of zombie soldiers are being mowed down by a lightning-wielding demigod, who shot his way out of an intergalactic gladiatorial ring with a laser rifle.

Now, you know that there are several elements they must address in the film, such as the post-credit scene in Doctor Strange. You know from the end of The Dark World that Loki is on the throne of Asgard, pretending to be Odin. You know that Thor was looking for the Infinity gems. You know that someone might want to mention that Jane Foster (Natalie Portman) isn’t in this movie — and frankly, I have no idea how they could have fit her in on top of everyone else. All of these plot concerns are actually addressed and resolved within– at a guess– about fifteen minutes in.

I have two major problems with the movie, and a minor one. One, we have a moment that is a variation on the “you have hidden depths” meme that we’ve seen before — though I don’t have a problem with how they did it, I have a problem with where they put it. It’s rather awkwardly jammed in. I blame whoever edited the film together. It’s fairly jarring.  You’ll probably catch it. I liked the scene itself (it could have been a minute longer), and it was well written, but it’s sort of shoehorned in, like the editor went trigger happy somewhere along the line. I know there are several shots and lines of dialogue cut from the trailer to the film; I know that it happens, but given some parts of the ending, I think someone went overboard.

My second major problem: character deaths. Of the five character deaths in this film, only one is lingered on for any length of time. The other four were murdered off-handedly, making me wonder why some of these actors were even brought in for filming.

The acting is surprisingly well done. Hemsworth is a great straight man, and pulls off the big epic moments, as well as the slapstick. Don’t worry ladies, you’ll get shirtless Thor — though he seems to have bulked down, and has gone more for martial art muscle than gym muscle.

Cumberbatch as Strange is even better and funnier here than he was in his own movie. It was fun, and they got rid of him in a matter of three minutes– a good thing, since he might have stolen this film if he was more than a cameo.

Tom Hiddleston as Loki … is Tom Hiddleston as Loki. Has anyone ever had any problem with his Loki? Loki’s still insane, but dang, he’s got style. And he knows how to make an entrance.

Hela … is a serviceable villain. She’s fun, and she leaves more of an impression than the dark elves from The Dark World. She even comes with her own army of zombie Rivendell elves. Yes, I know they’re supposed to be old Asgard warriors. And she comes with Fenris as her pet. She also has motivation. It’s simple and straight forward. She’s more Kali by way of the thugee, so she doesn’t really need much.

“Valkyrie” — Sigh. You know, I don’t mind Idris Elba as Heimdall, because he brings gravitas and .. he ACTS LIKE HEIMDALL. I didn’t mind a random Asian dude thrown in as one of the Warriors Three, since they’re largely background characters. But when you replace Valkrie, a six-foot blonde who should be built like Red Sonja, with a 5’4″ Tessa Thompson, I have multiple levels of why this is a problem. It will help if you have no actual attachment to the comic book character in the first place. Trust me on this. While I liked her character, all I could think is “You couldn’t have at least given her any other name? Ever?”

Karl Urban as the Executioner … while I like Urban, I’m not sure that this character is anything like the comic book, except with some mild overlap. I presume that this is the last Thor film, for multiple reasons, but most of all because they felt the need to jam in certain characters without bothering to make them anything like their comic book counterparts.

Aside from these complaints, which are largely nitpicky on my part, this was a fun film. It is certain this is the best Thor film. It’s possibly the funniest Marvel film. Though I’m surprised at their restraint, plot wise: I had expected at least new one Infinity Gem, and didn’t get one. If I recall correctly, there are still two missing.

But we’ll see.

Ragnarok is definitely recommended on the big screen. 8/10.

Review: Monster Hunter Files

If you don’t know Larry Correia’s Monster Hunter International series, this would be a place to start.Monster Hunter Files is an anthology written (mostly) by the best fantasy authors in the business

“Thistle” by Larry Correia
Owen and his team take on a new kind of monster in Arizona — It starts as your average, straightforward, monster-killing story. Then Larry does a twist at the end of this one that makes Rod Serling proud. I didn’t see it coming, but I should have.  5/5

“Small Problems” by Jim Butcher
MHI’s new janitor has to deal with some small problems — It’s Jim Butcher. Do I have to say this one was awesome?  It’s like he hasn’t recovered from all of his Roman legion research from Codex Alera … while watching The Secret of NIMH.  6/5

“Darkness Under The Mountain” by Mike Kupari
Cooper takes a freelance job in Afghanistan– The Chinese have dug too greedily and too deep… and that’s a line in the story. It’s almost a Monster Hunter procedural novel, with a soupcon of MCB BS.  4/5

“A Knight Of The Enchanted Forest” by Jessica Day George
(Trailer park elves versus gnomes TURF WAR!)– A straight up comedy from the first page, with the redneck elves, meets hippies.  4/5

“The Manticore Sanction” by John C. Wright
(Cold War era British espionage with monsters) — This one was dark. Very British. Also very Universal monster movie… the black and white version, not the new crap with Tom Cruise. This one was … surprisingly powerful. It left a mark.  6/5.

“The Dead Yard” by Maurice Broaddus
Trip goes to Jamaica on some family business— It was okay. It needed more meat to it. It was awkwardly paced, and over suddenly. I think it needed more room to work. 3/5

“The Bride” by Brad R. Torgersen
Franks wasn’t the only thing Benjamin Franklin cut deals with– BWAHAHAHAHAHAAH.  This one was awesome.  Brad writes Ben Franklin perfectly. I can hear the actor from 1776 when I read the story. Also, Franklin’s a badass. Though this one pissed me off … I wanted it to run another ten pages. Dear Larry: Can Brad write the novel on the Revolutionary War history of monster hunting? Please? 5/5

“She Bitch, Killer of Kits” (a Skinwalker Crossover Tale) by Faith Hunter
Jane Yellowrock teams up with MHI — This was okay. I honestly think that the author is more interesting than the story she wrote. Which is odd, because the inverse is usually the case. It just didn’t grab me. 3/5.

“Mr. Natural” by Jody Lynn Nye
an STFU mission in the 70s has to deal with plant monsters and hippies! — Hilarious. Fun as heck.  I deduct half a point for the bunny ex machina ending…. you’ll see. 4.5/5

“Sons Of The Father” by Quincy J. Allen
Two young brothers discover monsters are real, and kill a mess of them — Quincy is apparently a newb author, but I couldn’t tell from the story. It was very Supernatural, if they focused more on being badass than angst.  4/5

“The Troll Factory” by Alex Shvartsman
Heather gets some help from MHI for an STFU mission into Russia — Yeah, this was fun. A post-Siege story. It has a nice setup of a newbie hunter, and it has an awesome, awesome punchline. 5/5

“Keep Kaiju Weird” by Kim May 
A Kitsune may have already earned her PUFF exemption, but she’s not going to let some monster squish Portland — I really enjoyed this one. I was having flashbacks to the better episodes of Grimm, though. Heh. 5/5

“The Gift” by Steve Diamond
Two of the Vatican’s Hunters from the Blessed Order of Saint Hubert the Protector on a mission in Mexico — I wanted to like this one more. It felt like someone condensed a novel with a lot of backgroundinformation left out. Perhaps this would work betters as the first five chapters of a full novel.  4/5 stars… maybe 3.

“The Case of the Ghastly Specter” by John Ringo
while studying at Oxford, Chad takes a case — Was Ringo watching old Sherlock Holmes movies? There were moments when Chad sounds like Basil Rathbone. I might like this one better in the full novel of Sinners, as downtime in an action packed novel. But here, in this anthology, it just feels like the slow bit. The difference is jarring. It’s still good, so I mark it a 4/5

“Huffman Strikes Back” by Bryan Thomas Schmidt & Julie Frost
Owen’s vacation gets interrupted for some monster revenge– This was part comedy, park action scene. Either way, it was awesome. 5/5

“Hitler’s Dog” by Jonathan Maberry
(It is WW2 and Agent Franks really hates Nazis)– Do I even have to make comments? It’s Franks versus Nazis. But I think it needed a little more fleshing out. 4/5

 “Hunter Born” by Sarah A. Hoyt 
Julie didn’t get to go to her prom because of monster problems — This is narrated by a 16-year-old Jule Shackleford …. who sounds more like she’s 12 here. Maybe younger. Mercifully, this one is short, but poorly written. You can say “It’s narrated by a teenager” all you like, but so was Knight of the Enchanted Forest. Things that should be funny, aren’t. (Julie writes a summer vacation essay about killing vampires … how was this not funny?). The best lines in this story were, I’m certain, cribbed from novels by Larry. Poorly written. Amateurish narration. Heck, this has substandard prose compared to other short stories BY THE SAME AUTHOR. (Compare this to any of her Chicks in Chainmail shorts.) It’s even poorly placed in the anthology, coming near the end of the book, but it opens with exposition about MHI… in a book fully dedicated to MHI. It was so bare-bones basic, I saw what was coming a mile away. It is the Scalzi of this collection. 2/5

16 great stories, at a little over a dollar a story. You can’t beat this deal.

The Real Problem With “Jessica Jones”

“Jessica Jones” is a show I really liked when I first saw it, but it has joined that unfortunate category of works that I enjoyed the first time around and then disliked more and more the more I thought about them (also in this category: “The Force Awakens”). One personal issue I have with “Jessica Jones” is simply that I find the philosophy of feminism it happens to be promoting abhorrent; but this is something that not all will agree with me about by any means and is not a measure of the quality of the execution.

Another, politically neutral issue with “Jessica Jones” is that the plotting is deeply stupid. Episode ten of “Jessica Jones” is one of the stupidest episodes of television I have ever watched. Characters acted in wildly stupid ways, occasionally out of character, and certain things – like the way Kilgrave’s powers supposedly worked – were directly contradicted (something which, BTW, remained a major problem – if Kilgrave’s mind control works as a virus, then no matter how powerful he is a video of Kilgrave would have no effect on the watcher, and yet in later episodes there he is, mind-controlling people via video).

Now, the CONCEPT behind season one is legitimately excellent. An innocent girl has been forced to murder by Kilgrave, who can mind control anybody who hears his voice – and furthermore, the mind control is utterly absolute and almost impossible to resist in even a token manner. Jessica now must find and capture Kilgrave without actually hearing him speak, and upon finding him must prove he has the ability to control people’s minds without actually letting him do so. That’s a very strong concept!

The biggest problem of the series, even more than the bad plotting, lies in Jessica’s character development. It is botched, and badly. “Jessica Jones” starts the series in a very dark, low place: She is an alcoholic, she lives alone and shuns relationships with other people, and acts like a complete jerk to everyone around her. We learn quickly that she suffered extreme emotional trauma after being kept as a slave by Kilgrave for months before being forced to kill someone. This is a good place for her to start the series! When you start at the bottom there is a path forward from there: Up.

Jessica is ultimately drawn into conflict again with Kilgrave (who, by the way, is portrayed with a mesmerizing creepiness by David Tennant in the best performance of the show). In theory, Kilgrave is the source of her current status. The comics make this clear: Pre-Kilgrave comics version of Jessica was optimistic and upbeat. Then Kilgrave got to her and changed her into someone mean and cynical.

Part of the problem is that the show makes it clear that Jessica was ALWAYS an asshole. Even little child Jessica was an asshole. Orphan Jessica was an asshole. Sandwich saved me Jessica, when she first tries the superhero thing, was an asshole.

Jessica would have been a lot more sympathetic if Kilgrave turned her into this horrid person nobody wants to be around; what he actually did was turn her into a person who is both an asshole AND who tries her hardest to withdraw from the rest of the world as well. An issue that should have been solved with the end of her character arc in JJ.

But Jessica ends the series in exactly the same place as she started: A depressed alcoholic jerk who shuns contact with other people but will very reluctantly play the hero when really really pressed. She does not change. Why?

The answer is that “Jessica Jones” is a subtle but textbook example of placing your message above the needs of the story. Reviews and interviews make it clear that the director was trying to make a point: Just because you underwent trauma doesn’t mean you weren’t a jerk before that, and getting rid of your abuser doesn’t magically solve your problems.

This is a fine message, but “Jessica Jones” was telling a story. And because the showrunner had these pet issues she wanted to get across, the story was weakened. In fact, it wasn’t completed at all, which becomes even clearer when it is actually completed in “The Defenders”. The plot of “defeat the villain” was finished; the personal conflict, “Jessica overcomes her trauma” – which narratively makes the most sense if it is connected to Kilgrave, which it mostly is – is left dead in the water. The one should be intertwined with other, but they don’t affect each other at all. She ends the series in exactly the same place as where she started!

As a result finishing season 1 of “Jessica Jones” is a frustrating experience: You know how it should end, and it looks like the show is setting up for that ending, because it IS setting up for that ending…and then it doesn’t happen.

Because the showrunner was trying to make a point.

“Jessica Jones” had a lot going for it, including some really excellent episodes and great performances by both Ritter and Tennant, especially Tennant. But the show was undone by poor plotting and the sacrifice of the story in favor of the message.

Let it be a lesson to us all.

Book Review: Dangerous by Milo

Cross Posted form Marina’s Musings

I bought this book on principle because I wanted to support Milo, especially after Simon and Schuster pulled it from Amazon after the latest manufactured outrage proved too much for their tender corporate feelings. (And before you ask, yes, I’ve seen the infamous interview that precipitated the breach of contract from S&S. Considering this is the same company that published Lena Dunham, color me unimpressed.) Be that as it may, I forked over the big bucks for the hard cover, or rather had my husband pre-order it for me for our wedding anniversary, with the full expectation of having it in my book case as a conversation piece and not much more. After all, having gotten into the habit of listening to Milo’s broadcasts on Youtube while doing housework, I was very familiar with his views and could probably repeat most of his jokes verbatim.

Unlike most nonfiction from popular commentators, however, Dangerous is not simply a “best of” collection from previous speeches and blog posts. It’s a combination of a personal manifesto and solid cultural analysis, complete with references and statistics, and it flows seamlessly from hilariously irreverent to deadly serious. Much as I enjoyed this book, I wish Milo would consider writing fiction because oh my does he have a way with words.

Dangerous is  divided into three parts. The first (Foreword, Preamble and Prologue) is an introduction to who Milo is, what he does, and why so many consider him dangerous. Prone as he is to exaggerations, the claim is absolutely true. Mention his name in mixed company and you’re likely to encounter an equivalent of the Kingsman finale minus the pretty fireworks.

Personally I think he nails it with the following:

“I am a threat because I don’t belong to anyone. I am unaffiliated.”

This goes beyond identity politics, which insists on putting people in neat little boxes and proceeds to predict everything from the food they should eat to books they should read to politicians and causes they support. In addition to being impossible to classify, Milo is also immune to social and peer pressure. The fools who rejoiced at him resigning from Breitbart (where he already had essentially free hand) didn’t realize that he would become even more unstoppable with private funding and self-made platform. This is one scalp not up for the taking by Social Justice Brigades, and it has to drive them insane.

The second part is eleven chapters, nine of which are titled “Why [insert a group here] Hate Me.” If you believe the adage of knowing the man by his enemies, the list is impressive (or should I say fabulous?):

Progressive Left
Black Lives Matter
The Media
Establishment Gays
Establishment Republicans
and finally…

Some on this list hate because they should be able to control him and claim him as one of their own, but can’t. Some because he is the only one pointing out the unspeakable truths in a way that’s actually accessible, therefore reaching the audience most others can’t. Some because he’s a direct threat to their comfort and power. It’s a mix-and-match kind of thing with a lot of overlap. He does not hate all of the groups back, by the way, cutting some of them more slack than I would do personally, but the nuance is not reciprocated by the other side. No matter. The haters don’t win, and their attempts only result in getting him more followers and better hair products.

These chapters are useful not just as a recap of Milo’s detractors, but also provide a refresher on the history and current state of each group,  and whether or not there’s  hope that one or some of them would ever turn towards the light, so to speak. He has surprising amount of respect for intellectuals, considering how vocally he had been denounced by nearly every Conservative pundit. And, as he points out at the end of the Establishment Republicans chapter, “No movement has ever survived with just moderates and intellectual, and no movement has ever survived with just hellraisers. If we want to win, we need both.” To which I say, Amen. In spite of the current frictions, the two sides of the pro-freedom coin need not be at odds.

There are two additional chapters dedicated to the folks who DON’T hate him: Gamergate and college kids who love free speech. If you’re still unfamiliar with Gamergate, this chapter provides and excellent summary. And apparently we have Allum Bokhari of Breitbart to thank (or blame) for kickstarting Milo’s career by sending him information on Gamergate. Or should we more accurately thank Zoe Quinn? Well, you get the idea.

The chapter on college tours gives me hope. The protesters and general therapy-dog-demanding whiners get all the attention, but Milo would not BE doing college tours to begin with if there weren’t large groups of students eager to see and support him. Perhaps there’s no need to be overly down on the new generation after all. There’s a lot of free thought and bravery to be found among the current crop of college students, and they could very well fix the world we of the Gen X allowed so carelessly to slide in the wrong direction.

The third pard, Epilogue, has a title I will leave for you to discover. Suffice it to say, it’s essentially a call to action, and a guide on how to be successful if you want to try your luck as a Milo-style Culture Warrior. While there’s only one Milo, the field is wide open for ambitious copycats.
The gist of the advice is as simple as it is challenging: work hard and be fearless.

Not everyone can be hot.
Not everyone can be outrageous and funny.
Not everyone can risk denouncement and loss of employment.
But everyone can do something.
Find that something.
Then do it.

In the meantime, go read the book.

Superversion on the Game Board: Firefly the Game

Superversive stories deal with moral choices and taking the higher road. Tabletop board games usually don’t offer that option. In a zero sum game any action you take to benefit yourself hurts another player. Chess players don’t consider the morality of taking a pawn. Firefly the Game is one that does present moral choices to the players, and subtly encourages them to take the high road.

Firefly the Game in action.

For those readers not familiar with it, the short-lived Firefly TV series followed a band of underdogs evading an oppressive government as they smuggled cargos and stole from the rich. The conflict between law and justice drove many episodes, such as when Captain Mal Reynolds stole a government shipment but returned it to the townsfolk when he found it contained badly-needed medicine.

In the game players start with a ship and captain. They can hire crew and buy gear at specific planets. Other planets have contacts who will hand out jobs. Easy jobs just require picking up some legal cargo and transporting it to its destination. Smuggling contraband or fugitives is harder. The toughest jobs, such as robbing banks, require passing tests assigned by “Misbehave” cards. The goal depends on which “story card” the players are using, which range from a simple race to earn a specific amount of money to elaborate quests.

When hiring crew players look at their skills and special abilities. Some crew and captains are marked as “MORAL.” They’ll object if asked to do nasty jobs, such as robbing innocent townsfolk or smuggling slaves. The job cards they have a problem with are marked “IMMORAL” in red. Make a moral crewman work an immoral job and they’ll be Disgruntled (signified with a sad face counter). If you can’t cheer them up they’ll quit. Other challenges such as Misbehaving during a job or random encounters while traveling can become tests of morality.

The game doesn’t urge moral behavior on players. Forming a crew of conscienceless hirelings and focusing on the worst jobs available is a viable strategy for the game, depending on the goal. The “First Time In the Captain’s Chair” story card doesn’t give much scope for crime to pay. The “Wanted Men” card almost requires it.

What Firefly the Game does do is show how choosing one path makes it harder to switch to the other. Hire one moral crew and you have an incentive to do only moral jobs–which makes it easier to decide to hire more moral crew and do more moral jobs. Conversely, the more you stick to unprincipled crew doing nasty work, the harder it is to justify hiring a moral mechanic or taking on a lower-paying moral job.

The old sermons about virtue and sin becoming easier with practice are demonstrated in this game. You soon reach the point where Macbeth said, “I am in blood. Stepped in so far that, should I wade no more, Returning were as tedious as go o’er.” And it’s easier to get my kids to play the game than pay attention to the sermons.

How is it as a game, aside from demonstrating moral lessons? I love it, and so do enough other people to support eight expansions.

  • PROS:
    – Does a splendid job of capturing the feel of the Firefly TV series.
    – Provides range of actions from simple cargo delivery to committing complex capers.
    – Different story cards let every game have a different objective.
    – Expansions add variety.
    – Supports solo play.
    – Family friendly, I’ve had pre-teen kids playing.
  • CONS:
    – There is a learning curve for new players. Seeing a dozen separate decks of cards surrounding the board is intimidating until you learn you only need to pay attention to one or two at a time.
    – Lots of fiddly bits.
    – Not much direct player interaction unless you get the Pirates and Bounty Hunters expansion for PvP action.

If your group enjoys racing each other to collect enough money or firepower to meet a goal, or has serious Browncoats, I strongly recommend this game. The moral lessons will teach themselves.

The Superversive in Film: Flash Gordon

The zeitgeist that the original Star Wars created in the late 1970s pushed a lot of studios and production companies to grab every possible property comparable and get a movie out the door. In 1980 this got us a feature film version of one of the classics of Pulp SF: Flash Gordon.

My father took me to see this film in one of the few remaining neighborhood single-screen theaters at the time,
and we both had a good time. Since then it’s become one of those films I enjoy watching from time to time, and as I get older I appreciate the earnest and sincere quality of its Romanticism and heroism (especially as the rest of society goes increasingly insane and dyscivic).

Yes, it’s campy. That’s its charm, and because of that camp approach its sincerity and earnestness gets a pass by a lot of hipsters and other wanna-bee cool kids. The storytelling is solid, and the performances played straight- thanks to the timely intervention early on of Max von Sydow taking the cast aside and advising them to do just that if they wanted to have a career after they wrapped. (They did. It works. It really works. Save for the lead, they did- some for decades thereafter.)

You’re in for a great time with this film, and the soundtrack by Queen nails the mood perfectly. (Get the soundtrack.) Flash does his best John Carter impression, Dale her best Dejah Thoris, and every major character is someone you love to love (or hate). Boredom is not an issue here, and neither is the way that the heroes succeed because of their moral qualities (and the villains fail accordingly). This is one of the most blatantly Pulp and Superversive films I’ve yet written about here, and if you want to see that old-school style presented in all its glory then this film delivers. Recommended. You should have a copy in your media library.

But wait, there’s more.

If you like the film, chances are also good that you’ll like the animated series put out at that time. It came out the year before (1979), and ran for one season; the techniques Filmation used for this series would go on to become their signature style and be employed for He-Man, She-Ra, Blackstar, and Bravestar. The presentation of Flash, Dale, Zarkov, and the rest of the cast is no less Pulp or Superversive but the differences are enough to make it engaging and it is very entertaining.

There are other, older film adaptations, which are also fun, but eventually you should go back to the original comic strips. Now collected in coffee-table sized volumes, the 1980 film’s roots in the original material becomes clear once you feast your eyes on them. Alex Raymond–the creator–made a character no less a classic than Edgar Rice Burroughs or E.E. Smith did. Action, romance, heroism, adventure- everything that the film is the distilled essence of you get the full measure of here. Start here and read every volume thereafter. You’ll not be disappointed.

I’ll let Queen play this out.