The Search for Smilin’ Ed
Written & Illustrated by Kim Deitch
Published by Fantagraphics

The Search for Smilin’ Ed is the latest book collection from Kim Deitch, a longtime favorite cartoonist of mine. The story, originally serialized in the Fantagraphics anthology Zero Zero in the latter part of the 1990s, details Deitch’s research into the life of a forgotten (and mostly fictional) children’s TV show host, one Smilin’ Ed.

Deitch’s narrative weaves Deitch-as-character (with real-life acknowledgements) into a fictional tapestry of demons, underground societies, and pop culture oddities. Stacked with surprising twists and intricate plotting, Smilin’ Ed revels in Deitch’s increasingly complex personal universe, threading new characters into the established histories of his previous protagonists. Densely detailed and creatively laid out, the art can absorb a reader’s eye for days, with tons of nods, winks and subtle touches embedded in nearly every scene.

The plot, however, isn’t necessarily one of Deitch’s best. Smilin’ Ed comes across as somewhat half-imagined (by Deitch’s standard, which means it’s still three times as outlandish as most anything else out there), a series of disjointed sequences, failing to coalesce in a meaningful way. Despite this shortcoming, there’s more outlandishness going on in The Search for Smilin’ Ed than any five issues of most comics, and Deitch’s detailed, stiff renderings and engaging page designs make it worth the time for regular Deitch readers. Kim Deitch newcomers are directed to Alias the Cat or Boulevard of Broken Dreams to see the master shining his brightest.

I kept looking over my shoulder while reading EmiTown, expecting cartoonist Emi Lenox to burst into the room and demand to know what exactly I thought I was doing—that’s how diary-like Image Comics’ print collection of her sketch diary-turned-webcomic actually is.

The work was apparently originally began without an audience of any kind in mind, which is quite evident from the personal, mysterious nature of a lot of the content, particularly at the beginning, where sticky notes of abbreviations and numbers often appear on the pages.

As the introductions explain, it gradually transformed into something for public consumption, yet throughout the 400 or so pages here, Lenox’s self-named town retains a great deal of mystery.

EmiTown isn’t memoir or biography, and doesn’t really resemble the sort of comics that likely come to mind when one thinks “diary comics,” even James Kochalka’s daily American Elf isn’t a good reference point, as Kochalka generally just chooses a single anecdote from the day to present. Lenox, by contrast, talks and draws about her days, the most personal matters semi-obscured by elaborate symbol-characters.

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It Came From the NYPL

Fallen Angel: Reborn
Written by Peter David
Illustrated by J.K. Woodward
Lettered Chris Mowry & Neil Uyetake
Published by IDW

I am not a Buffy fan and, consequently, am totally unfamiliar with Illyria. I’ve also fallen behind reading Fallen Angel, which prevented me from understanding the roles of several supporting characters – the final page for example.  So perhaps my overall indifference to Fallen Angel: Reborn is partially rooted in those twin disconnects. But not entirely.

I actually went to the library hoping for one of the recent Fallen Angel omnibus editions (my preferred comic format: many hundreds of pages, reasonable financial cost!), aiming to catch up and reimmerse myself in Peter David’s tale of a guardian angel, cast down to Earth, and the mystic city she now protects. Alas, the library had only one book, this one. It’s as close to the itch as I could scratch, so I requested a copy.

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Evolution: The Story of Life on Earth
Written by Jay Hosler
Illustrated by Zander Cannon & Kevin Cannon
Published by Hill & Wang

There’s a joke about the blasphemy of this book somewhere in here, but let’s cut to the chase.  Following on 2009’s The Stuff of Life: A Graphic Guide to Genetics and DNA (with writer Mark Schultz), artists Kevin Cannon and Zander Cannon return to the science fold.  This time, it’s Jay Hosler (who brings experience in both science and comics writing to the table, including his “life of a honey bee” epic Clan Apis) handling the script, and Charles Darwin’s favorite theory finds itself in the spotlight.

The framing device for Evolution: The Story of Life on Earth, like the Cannons’ previous science-fact effort, focuses on the king of the alien Glargalian Empire and his son meeting with one of their scientists to determine a solution to their species’ genetic crisis.  After the last book’s DNA lesson, chief researcher Bloort explains to his regent the recently (to the Glargalians) uncovered Earth-based theory of evolution and its many benefits.

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Superman vs. Muhammad Ali
Written by Denny O’Neil & Neal Adams
Illustrated by Adams
Inked by Dick Giordano & Terry Austin
Lettered by Gaspar Saladino
Published by DC Comics

Okay, yeah, this one’s a little campy. Look at that title: how couldn’t it be? Try to imagine a fictional character based on Ali’s public persona without a twinge of camp.

That said, don’t take it very seriously and it’s a fun romp of a book. Tremendously fun. The plot’s simple enough: an alien armada orbits Earth, but they’ll spare our planet if our champion can best their champion. Superman and Ali both claim to be said champion, and so a preliminary bout is fought – under a red sun on the aliens’ homeworld.

The premise is a little outlandish, but O’Neil and Adams have fun with the proceedings and offer a little misdirect regarding Superman’s status after his bout with Ali. The art’s terrific, if perhaps difficult to follow for novice comics readers. Adams’ constructs several balletic fight sequences, and one grandiose Ali speech, that left at least one comics-virgin friend of mine with a headache.

The reprint of this 1978 oversized comic comes in two editions: a comic book-sized hardcover, and a humongous “replica” edition hardcover. I read the latter incarnation, and it’s wonderful to see. Adams’ art looks amazing viewed at the larger size, screaming off the pages. The paper stock is a little flimsy and the page count skimpy for a $40 book ($30 for the smaller model, which is still steep for less than 80 pages of story); if you can find a discounted copy, Superman vs. Muhammad Ali should certainly entertain.

Back in November, David Sedaris was a guest on The Daily Show and he was there to promote his then-new collection of animal fables, Squirrel Seeks Chipmunk.

During the interview, Sedaris told host Jon Stewart that his original title for the book was Let’s Explore Diabetes With Owls, but his editor responded, “Please don’t put the word diabetes in your book title,” and came up with final one instead.

I thought of  Sedaris’ editor when I opened an envelope to find a review copy of the fourth and final collection of Johnny Ryan’s Blecky Yuckarella strip, entitled Fuc_ __u, _ss__le.

Please note that I’m not trying to be demure and avoid saying “the F-word” and “the A-word” here on Newsarama; that’s the actual title of the actual book. Underscores are used to make the title look a bit like an unfinished game of hangman, an image emphasized by the cover, which features Ryan’s Blecky character hanging from a noose, her limbs shaking as sweat drops and  yellow-colored drops emanate from her figure (It’s the first of many appearances of piss in the book).

What if Ryan had Sedaris’ editor? If “diabetes” is a bad thing to have in a book title, how about the two words in Ryan’s title? And how would that initial conversation go? Perhaps “Hey Johnny, what do you want to call your new book?,” leading into an R-rated Abbot and Costello routine, with the editor all “Wow, what the hell Johnny? I’m just asking! There’s no need for that kind of language!”

Ryan obviously doesn’t have Sedaris’ editor, nor Sedaris’ publisher, and Fantagraphics Books is obviously quite in tune with Ryan’s sense of humor. This is, after all, the fourth of their Blecky books, and they’ve published two volumes of Prison Pit, starring a protagonist whose name I’m pretty sure I can’t post on Newsarama, as well as Ryan’s Angry Youth Comix.

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Steel #1
Written by Steve Lyons
Illustrated by Ed Benes
Colored by Blond
Lettered by Pat Brosseau
Cover art by Alex Garner
Published by DC Comics

While it’s impossible to say much about the “Reign of Doomsday” arc that begins in this one-shot comic, it shares at least one similarity with Doomsday’s initial appearances. This comic is wall-to-wall fighting. Although there’s not much room given to developing the protagonist, Steve Lyons seems to have a solid handle on John Henry Irons’ character, though the tragic angle’s overplayed. The dull plot has a few hiccups, however (like, why does Doomsday need to threaten Natasha, forcing Steel to “come to him,” when they were already fighting and Steel was in his hands?!), which is surprising given how little plot there actually is. Dialogue’s passable if unexceptional, as is the art. In short, it’s a workman-like superhero comic, readable but not recommended.

And since I know you’re dying to know, Internet, John’s final fate is left hanging. Guess you’ll have to read the rest of the crossover to find out.

Batman Beyond #1
Written by Adam Beechen
Penciled by Ryan Benjamin
Inked by John Stanisci
Colored by David Baron
Lettered by Steve Wands
Cover art by Dustin Nguyen or Darwyn Cooke
Published by DC Comics

Batman Beyond returns in a new ongoing series. Terry McGinnis’s origin is wisely ignored here, opting instead to get straight into the meat of the series. Terry’s trying to balance being Batman and having a family, Bruce is his aging mentor, and the Justice League is … seeking justice.

Again, Batman Beyond #1 works as a competent superhero book, but it lacks that hook to really get you going. Writer Adam Beechen spends too much page space following his future villain into a storage locker, while a nattering fellow employee trails behind, explaining how wrong his actions are, nor does the lackadaisical dialogue between Terry and his family draw the reader into their family dynamic. Beechen’s set up an interesting schism in the plot, however, with Batman, the villain and the Justice League each having their own interest in the coming conflict.

Ryan Benjamin’s art carries the story effectively, with strong layouts and clean lines. If you’re a fan of the characters, there’s enough in Batman Beyond #1 to entertain, but it’s far from must-read right now. If, like me, you’ve seen maybe a half-dozen episodes of the cartoon and have only a vague knowledge of the cast, you won’t miss much.

It Came From the NYPL
Cross Game v. 1
Written & Illustrated by Mitsuru Adachi
Translated by Ralph Yamada & Lillian Olsen
Published by Viz

Mitsuru Adachi is, I suspect, one of the two dozen or so best comic book creators in the world. The acclaim I’ve read of his work in Japan is astounding, and the two series I’ve so far encountered in English have only exceeded the hype. Viz previously brought American readers Adachi’s Short Program, a two-volume collection of melancholy and humanistic short stories. Now, Cross Game arrives in the States.

Cross Game tells of Ko Kitamura, his friends on the high school baseball club, and his relationship with the sisters who’ve lived next door to him for his entire life.  While it’s a romantic comedy at heart, Cross Game features notable amount of baseball action and its fair share of early tragedy.  But what really sets it apart is Adachi’s (with assistance from his translators) ability to capture the nuances of his characters, the humor and the pathos, via their witty dialogue and his casual pacing.

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Brody’s Ghost v. 1
Written & Illustrated by Mark Crilley
Published by Dark Horse

Mark Crilley’s already created one of my all-time favorite series, the upbeat, hilarious and relentless imaginative Akiko, and his follow-up, Miki Falls, reinvented his art style and added emotional heft, yet retained the creative world-building of its predecessor.  Crilley returned a few months ago with a new series, Brody’s Ghost, a six-book serial about a young man who is approached by a ghost. This ghost, a young woman named Talia, needs Brody’s help to accomplish a task so she can get into heaven – except callously indifferent Brody’s trapped in a funk after a bad break-up.

So Brody’s Ghost is a supernatural adventure, with emotional overtones and redemption themes.  The art’s terrific – detailed and nuanced, with strong designs and a compelling world design; the mysteries of Talia’s death and afterworld travails hang over the entire book like a massive eclipse, yet Brody’s struggle to rediscover his own worth remains the emotional core through the first book.

Of course, it’s a six book cycle, so Brody’s Ghost v. 1 feels somewhat slight, concerned more with laying groundwork for Brody and Talia’s partnership, and establishing the baseline high concept for the series. As a result, the first book isn’t entirely satisfying, but it is intriguing, leaving plenty of room for readers’ imaginations to run amok with possibilities for the remaining five books. Mark Crilley’s previous work suggests he’ll keep me guessing through the series’ run, and despite a slightly slow start, I’m hopeful that the foundation laid in Brody’s Ghost v. 1 will lead to greater things in the future.

The Playwright
Written by Daren Write
Illustrated by Eddie Campbell
Published by Top Shelf

It’s nice to end the year with a review of one of 2010′s best comics. If I were compiling a “best of” list, rest assured, The Playwright would rank high on it.

The back cover of Daren White and Eddie Campbell’s latest, The Playwright, describes the book as “a dark comedy about the sex life of a celibate middle-aged man.”  If that sounds awesome to you, as it does to me, let me assure you, The Playwright actually exceeds its promise.

White and Campbell structure the story, for most of its duration, with three panels per page, each accompanied by a caption box. The delivery, dry and sardonic, captures the timidity and bleakness of the titular writer’s life, while the illustrations move back and forth between his lusty ambitions and his staid actions. If you like Campbell’s strong pen and ink and watercolor artwork or appreciate seeing your own follies reflected back at  you, The Playwright’s one of the best books in recent memory, darkly funny, insightful, and quite unforgettable.

Tatsuya Tsugawa seems to be a particularly pathetic specimen of junior high student when we first meet him in the pages of Aion Vol. 1.  He’s being shaken down by some older students, and a girl in his class has to come to his rescue.

Tatsuya soon finds an even more pathetic victim of bullying than himself, however, a mysterious classmate who repeatedly tells him to butt out since she wants a particularly mean girl to throw her down and kick her when she fails to buy her the right sort of bread for lunch.

Trying to live up to his father’s dying wish that he be “a big man” someday, Tatsuya persists in interfering until he comes across the girl’s secret: She has a weird shadow dragon named Aion that flows out of her finger, swallows evil people whole, and then spits them out, having only digested the evil parasites from the ocean that are living in their brains.

After that, the pair’s lives become intertwined when Tatsuya finds the girl living in a cardboard box in the park and invites her home with him, where she discovers his scheming relatives are hosting evil parasites as well.

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MAD’s Greatest Artists: Sergio Aragonés: Five Decades of His Finest Works
Written by Sergio Aragonés and friends
Illustrated by Sergio Aragonés
Published by Running Press

The World’s Fastest Cartoonist, Sergio Aragonés, went through the impossible-to-count number of pages he’s drawn for MAD Magazine over the past fifty years and chose his best strips to be included in this book, a 270-page hardcover collection perfect for fans of Sergio, MAD or anything remotely funny.

Features including “A MAD Look at …” and “The Shadow Knows” dominate the proceedings, though Sergio provides several other featurettes. Many showcase his classic pantomime gag strips; others are produced in collaboration with script writers. Cover illustrations, eye-bleeding detailed sequences such as MAD’s look at comic book conventions, and early silent stories round out the collection.

Each page is accompanied by the issue number and year of the sequence’s original publication. I’ve seen a few of these strips as a kid in various MAD’s compendiums, but this edition – MAD’s Greatest Artists: Sergio Aragonés: Five Decades of His Finest Works – is definitely the way to own this material. Sergio’s a cartooning master, and to have his best work under one cover is too good to miss out on.

Grendel: Behold the Devil
Written & Illustrated by Matt Wagner
Lettered by Tom Orzechowski
Published by Dark Horse Comics

The latest book in Matt Wagner’s Grendel series is something of a homecoming. Wagner has revisited the series’ original protagonist Hunter Rose several times, notably in the Black, White and Red miniseries (and the Red, White and Black sequel), but in those instances, Wagner collaborated with other illustrators on short stories, each illuminating a tiny corner of Hunter Rose’s world and the Grendel milieu.

In Behold the Devil, Wagner takes up the art chores himself, drawing Hunter for the first time in a long while.  He’s also telling a long-form story – this book first serialized in eight chapters – that promises to give readers a meatier look into Hunter Rose’s character.

On one hand, the book is smartly written and very well drawn.  Wagner’s a master comic artist, witnessed in his iconic character designs and startling layouts. His ability to capture chaos or the balletic ebb and flow of a beautifully choreographed fight sequence is nearly unparalleled. Few artists can capture a dramatic beat as powerfully as Wagner, and fewer still can add strong character acting to the mix.

As for the story – taken on its own, Behold the Devil is compelling, a layered mystery, with plenty to keep readers guessing and strong character beats.  On the other hand, few of the character beats haven’t been covered in previous Grendel stories.  Behold the Devil is for hardcore Grendel fans (like me) who enjoy seeing Wagner’s talents on display or for neophyte Grendel readers.  For casual Grendel readers, there’s not necessarily much new here.  Behold the Devil’s still a good story, but I think I’d like to see Wagner creating something from whole cloth rather than revisiting Hunter at this point.

Transformers: The IDW Collection v. 2

Written by Simon Furman, Stuart Moore, Nick Roche & George Strayton

Illustrated by Don Figueroa, E.J. Su, Rob Ruffalo, Robby Musso, Roche & Guido Guidi

Colored by Josh Burcham, John Raunch, Zac Atkinson, Ruffalo, Kieran Oats & Andrew Elder

Lettered by Robbie Robbins & Sulaco Studios, Neil Utetake & Chris Mowry

Published by IDW

Two long stories and six short tales make up this second collection of IDW’s Transformers comics.

“Stormbringer,” by Furman & Figueroa, takes place essentially concurrently with v. 1’s “Infiltration” storyline, explaining the status of Cybertron and where Optimus Prime is.  Although the backstory of Thunderwing feels slightly underdeveloped, Furman builds a strong sense of dread in his appearance and Figueroa’s detailed, dynamic shots maximize the action.

“Escalation,” by Furman & Su, features Megatron’s plot against Earth moving to the next level, and the continued threat of a human faction moving against the Transformers. Su has stood out, to me, as the most dynamic Transformer artist, more cartoony than Figueroa, but more consistent with layouts and pacing.  The story is strong, with lots of action, a solid plot and strong intrigue.

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Miss Don’t Touch Me v. 2
Written & Colored by Hubert
Illustrated by Kerascoët
English translation by Joe Johnson
Lettering by Ortho
Published by NBM

After the startling success of the first Miss Don’t Touch Me book, the creators are back with a sequel.  There’s not much you need to know to jump right into this book.  Our heroine Blanche is a virgin prostitute (for various reasons covered in the first book), and she’s a very popular dominatrix at the pleasure palace known as Pompadour.  She has a (very) few allies and a few (more) enemies there.

While the first book operated as a twisted murder mystery, v. 2 serves readers a more emotionally damaging story. Blanche finds her Prince Charming, a dashing and kind young man named Antoine who is devoted to her and, she hopes, will rescue her from the debts that bind her to the Pompadour.  Her shiftless mother, a shyster born, also chooses this moment to reinsert herself into Blanche’s life, and though Blanche is suspicious, she can’t quite stop herself from trusting her own mother.

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Fables #100
Written by Bill Willingham & Mark Buckingham
Illustrated by Mark Buckingham, Bill Willingham, Steve Leialoha, Andrew Pepoy, Dan Green, Chrissie Zullo, Dave Johnson, Adam Hughes, Kate McElroy, J.H. Williams III, Joao Ruas, with Lee Loughridge, Dave Stewart & Todd Klein
Published by DC/Vertigo

I’ve read Fables three previous times – v. 1, because I’d heard many good things about it; v. 5, as a gift to me; v. 7 as a comped copy – and I’ve always enjoyed the book very much.  If you’re coming in late, Fables tells of fairy tale characters after their happily ever after, when a war drove them from their homelands and they all (and I mean all) settled in the mundy world, often in (or near to) New York City. It’s a dark fantasy, with strong character work, excellent artwork, and creative twists.

I haven’t read the series regularly out of little more than resistance to indefinite series commitments. I can’t count how many comic book series I’ve walked away from in mid-run due to … wanderlust, mostly, wanting something different after a time. So I mostly stick to self-contained books or constrained runs of titles; but I’ve dabbled in Fables, always enjoyed it, just never kept up with it. The series 100^th issue continues that trend, and reminds me again – maybe it’s okay to leave a series in mid-run as long as I enjoy my time with it.  Maybe Fables deserves a longer look.

For a 100^th issue focused on a long-standing conflict, Fables #100 manages to be welcoming to new(ish) readers. Certainly, some plot specifics flew by me, but it’s a big fight, a birth, and a flight – all fairly timeless dramas, all delivered with professional aplomb. A variety of back-up features in the extra-length issue provide frivolity and levity, mixed with just enough danger to remind readers of the continually unfolding drama.  The writing captures the variety of voices and unfolds the story in a striking fashion, juggling its ensemble cast comfortably; the art’s dynamic and laid out very well. The result’s a blast of an adventure comic.  As I’m continually reminded.

Batman & Robin v. 2: Batman vs. Robin
Written by Grant Morrison
Illustrated by Cameron Stewart, Andy Clarke, Scott Hanna and Dustin Nguyen
Colored by Alex Sinclair and Tony Aviña
Lettered by Pat Brosseau and Jared K. Fletcher
Published by DC Comics

I can’t imagine anybody without a moderate to strong understanding of Batman lore appreciating this book, but I certainly enjoyed it.  Morrison plays Batman, now Dick Grayson, and Robin, now Damian Wayne, off one other very well, with effusive banter and effective touches to underscore the respect they’ve gained for one another.  The plot is lightning fast, so be prepared to keep up.

The first half, with Morrison’s favorite obscure Batman and Robin analogues, Knight and Squire, and a slightly shoe-horned-in Batwoman manages to stay (just barely at times) this side of coherent, with too many characters jumbled together a little too quickly, but it’s a decent if forgettable yarn.  I’ll give it points as a clever thematic tie-in to the Blackest Night event without actually referencing the event at all.  The second half, which has Robin dealing with his mother and her “influence”, is stronger, more focused, more couched in Batman lore.  It also builds around a stronger emotional core.  You need to know Dick Grayson’s Nightwing/Teen Titans history at least cursorily, as well as Damian’s parentage, to really appreciate it, but most casual fans have requisite knowledge.

Both artists, Cameron Stewart and Andy Clarke, suit the series well.  Each provides clean artwork, detailed to carry the story but never cluttered with lines, and they lay their pages out effectively.  The result is a good-looking, fast-moving series, smartly written and recommended for interested readers.

When I had finished reading the very last page of Picture This, Lynda Barry’s book exploring the questions “Why do we stop drawing?” and “Why do we start drawing?,” I found myself desperately curious about another question entirely: “Where does publisher Drawn & Quarterly suggest this book be shelved?”

As you may have noticed, most books (and an awful lot of graphic novels) include among the fine print on their title pages or back covers suggestions for libraries and book stores regarding where the book belongs. These often include Library of Congress or Dewey Decimal system subject numbers, and/or a numbered list of subject headings.

For example, looking at a few books laying around my office, Brecht Evens’ The Wrong Place is suggested “Social Interaction—Comic books, strips, etc.” and “Identity (psychology)—Comic books, strips, etc.” I love looking these up, in part because it reveals what the publisher thinks of the book and how it should be classified and, to some extent, sold.

Most of the books I review here tend to fall under a catch all like “comic books, strips, etc.,” and libraries and book stores end up putting them either in their own, dedicated “graphic novels” section, or else somewhere under the “741″ number in Dewey. But sometimes they are so specific that I wonder if the publishers aren’t sometimes being sarcastic—Tim Sievert’s That Salty Air, for example, included “Oceanic Revenge” and “Seaside Heartbreak” which made me imagine a bookstore with sections that specific. What’s that? Oceanic Revenge? Yes, it’s over there on the left; right between Marine Justice and Sea-going Wickedness.

Where does Picture This belong? Certainly under a “Comic books” or “Art” subject, but more specifically? Memoir? Manifesto? How-to? Aesthetics? Art Therapy? Self-Help? Outsider art? Craft? Folk art? It belongs under them all, really. In the Dewey Decimal system, the argument could be made to put this in plenty of different places in the 700s (arts and recreation), though parts of the 800s (literature), 300s (social sciences), 400’s (language) and 900s (which includes biography) could claim it as well.

I can think of no better example of the potency of Barry’s Picture This than the fact that it defies, if not breaks, the Dewey Decimal system—we need a brand-new number to put on the spine of this book.
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Superman: Earth One
Written by J. Michael Straczynski
Penciled by Shane Davis
Inked by Sandra Hope
Colored by Barbara Ciardo
Lettered by Rob Leigh
Published by DC Comics

If you’ve been reading my ramblings for a while now, you’ve noticed that despite my general indifference to superhero comics, I’m a big nut for Superman.  There’s something very inspiring and exciting about the character, something I’ve never found in the derivatives who’ve followed his creation.  So understand that I looked forward to Superman: Earth One and only felt more thrilled when the sales numbers took off, the critical word came back strong.  And perhaps I got a little too excited.

Now, let me say up front, I enjoyed Superman: Earth One.  It’s solidly written, with passable insights into the characters and plenty of great action.  I enjoyed it, and I’m in for the sequel when it arrives.  In Superman: Earth One, if you missed the hype, writer J. Michael Straczynski reinterprets Superman for the modern era.  Forget what you know: Clark Kent is twenty-ish years old, he’s just arrived in Metropolis, and he’s like most of us at that age – full of promise, but unsure how to apply himself.

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Castle Waiting v. 2
Written & Illustrated by Linda Medley
Published by Fantagraphics

There are few comics as pleasant at Castle Waiting.  Linda’s Medley’s fantasy series takes place sometime after the end of traditional fantasy – happily ever after and the great conflict both seem to be in the recent past, and a collection of diverse strangers have gathered in an abandoned castle to make a new life for themselves.

Clocking in at over 350 pages, v. 2 offers readers a meaty chunk of story, a nice compliment to the massive v. 1 hardcover.  In addition to continuing to explore their home, where they discover hidden passages, booby traps and more, the cast welcomes company in the form of Henry’s surrogate family (they’re dwarves, but don’t call them that; it’s offensive!).  The new blood introduces a new mix to the group, which Medley explores in considerable detail.

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