C. J. Daley

Thanks to the publisher and Netgalley for the audio arc! I liked the colors used for the cover, and thought the premise was interesting, so I wanted to give this a go! The narration by Andy Stevenson wasn’t but, but wasn’t my favorite. Just seemed like an odd choice for this mostly one character perspective.

The book opens on Carmen. She’s grieving the loss of her mother, the only true constant in her life. She’s been popping around just sort of adrift. Staying at AirBnBs with no real place to call home. Her stuff is in storage and she doesn’t feel comfortable enough where she’s staying for it anyway. So a bit of a house hunt ensues, and wouldn’t you know it, there’s an undervalued home in the town she wants! It just happens to be the site of a heinously graphic murder, but what could really go wrong? And look at the new appliances!

I remember thinking while listening to this that it felt like a haunted house story with a setup from someone that’s never read one. And I don’t mean that in any way as insulting or to sway readers against it, it just really stuck out as a thought to me. The opening is long, not really slow, but noticeably longer than the actual section of the book where things start happening. In that sense it felt kind of reminiscent of The Haunting of Hill House to me. I enjoyed the setup, and I think the writing was solid, but if you take your time to set up a character, the length of the story should suit their journey.

The second half of the novella, I did struggle a bit with. It felt like the beginning of a larger picture, like it was missing a part three or something. And while I am a fan of writing open endings, I’m not so sure about reading them personally. Carmen’s deterioration needed more explaining in my opinion. I did feel her grief, that desire to speak to someone just one more time, but I never felt like she was spiraling. And I think the reader needed that before there could be a satisfying break.

The more “choose your own” style of, is it possession or is it a mental breakdown, I did enjoy though. However, this does feature a rather rough sexual encounter that I can’t say I’m a fan of. I enjoyed the ghost “incidents” and even the fact that the murder in question was inspired by a true event, but wow was it dark. Even to read it fictionalized was a lot. It did read like setting up a story just to include that real-life murder, which is why I think it just needed a little more. I enjoyed what I listened to, just wish it was longer.

A murder-heavy haunting novella that blends grief and longing with an ending open to interpretation.

Grabbed this on audible on my quest to read through everyone involved with FanFiAddict’s The Book of Spores. The narration by Shakira Shute was solid and I think she was a great fit for Sam.

A mysterious group called The Grays appeared and in one night the status quo had changed. No longer allowed free rein of the world, the vampires have been pushed back to First Light, the last remaining vampire city. And while there is safety in numbers, the relative confinement has let corruption and deceit run rampant. The poor get poorer, drinking only the weakest of blood, making them little more than human. The rich dine on expensive animal bloods, hosting parties and living lavishly, as if their support staff aren’t literally dying. And while all this is bubbling, the city’s ruler finds out his estranged son has been murdered, sending their world into further chaos. Sam, a maid, has an eye for books and is desperate for more. What will happen when their worlds collide?

I know this book is of course marketed with trending comps like Empire of the Vampire and The Justice of Kings (neither of which I’ve read yet), but to me this felt like a partial Agatha Christie novel stumbled on over into a Anne Rice novel. There’s also intrigue on the scale of Game of Thrones, and there’s an eternal cast like the Underworld movie series. The city itself and bleak world had me picturing the likes of Underworld: Rise of the Lycans, but with perhaps a more wolf-like take on the werewolf. And while there is power struggle, this is not a shoot em up story.

So how does it stack up? The characters are strong, and feature vampires, werewolves, and sorcerers as the main cast. Much of this focuses on the mystery or intrigue with characters holding multiple full length discussions that held my attention as much as they moved the plot along. As this is a novel without mortals, meaning ZERO humans, it was interesting to see how they were similar, but especially the little nods of how they were different. I hope in the sequels we get more explanation because I am so on the hook for how they all exist! Aren’t vampires and werewolves turned humans? Or is there something we’ve never seen before at play?

While there is a climactic finish, the story is definitely more of a slow burn. I think the world gets pretty well fleshed out, with even a commentary on capitalism—and/or classism, depending on how you view it—and I found it really unique how the author delivered on it in his world. Vampire servants on the cheapest blood still age over time, not only establishing that the “lowly” can’t live forever but also physically showing their differences. Almost like a group of vampires without access to universal “vampire” rights and healthcare. I mean there’s even an in-world commentary on fixed markets and the greedy gambling on them with the sale of sample flutes of new blood being offered before they go public. While the author does well to not make all this so over the top that you can’t enjoy the book without reading into these things, for me this added so much nuance and depth. It actually felt like there was a functioning city underneath the story.

Wildly unique, this one takes so many pieces of things I love and makes them entirely new. For fans of vampires, werewolves, magic, and intrigue.

As Klaus was a favorite of mine in the series, I’m so glad to have a prequel spinoff!

Klaus’ ability to commune with the dead has always been a struggle for him. He turns to vices to quiet the voices and pain they share, and while that is kind of understandable, dear old dad has certainly had enough. Just 18 years old, and Sir Reginald wants him gone, completely removed from the premises. And all Klaus can think to ask is, “will I still get my allowance?” Now out on his own, he heads to Hollywood where his ability to commune with dead actors keeps him from a life of turning tricks. However, his benefactor takes to enabling him—giving him powerful drugs that take him to the void (kind of like his “other place/mastering the dead” stuff from when he dies in the show)—continuing the cycle of his abuse for her own self gain. And of course, this one can’t get away that easily without its own fair share of weirdness, and features a subplot full of vampires in the Hollywood underbelly.

This miniseries was awesome. Klaus was one of my favorites in the show, mostly for his tortured soul and yet lightheartedness, but I’d also love to see the rest of the Umbrellas get the same treatment. We get a little snippet of Diego and Vanya in the short, Anywhere but Here, and some prequel-style scenes with Five in the past, but a full series would make them even better. There are endless options too! What exactly was Luther doing on the moon? Why exactly is Diego called Kraken—other than him just kind of swimming in Apocalypse Suite? What happened with Allison’s daughter? A miniseries of Five surviving the future? What happened to BEN (I have a feeling this is in Plan B though)? There are so many cool things they could do.

Focusing on Klaus was a great idea, he really is one of the most complex characters. For much of his life, his powers are nothing more than a hinderance, and at worst, a curse. The story allowed Gerard to deep dive into that, not just for character development and depth, but also allowing him a commentary on addiction. Klaus is numbing the pain, and not receiving the best/correct care from his family. After his father has had enough, he immediately falls in with an enabler, someone who looks supportive but is actually supplying his disease. If that wasn’t enough, there’s a chimp-vampire gangster looking for him as well in the hopes of capturing him for the use of his powers (just like the bikers in Hotel Oblivion). Without his siblings to turn to, his pain is just compounded over and over again as each face is another mask hiding selfish desires. And of course, the blood sucking vampires are a great metaphor and commentary on the greedy and dangerous nature of the film industry.

A great standalone that adds so much to our understanding of Seance as a whole. Can’t wait for Plan B to drop!

Volume 3 to me feels the most like an actual superhero comic book, still very much so the Umbrellas, but with a more fleshed out world. It is also somehow the most out there of them all. Completely insane.

The ragtag group that we can’t get enough of is back…and better than ever? As with all heroes, once they emerge, it seems as if there are villains appearing out of the woodwork. Why is it so perfectly timed that when someone has the strength to step up, magically there is someone there to try to bring them down? Well the same goes for the Umbrellas. Over the years, as more villains appeared, Sir Reginald sought a way to contain them so that they would stop coming back—assumably in the revolving door style we so often see in comics. The thing is, his plan worked, but for how long?

While I did enjoy the third season of the show, it differed from volume three much more than the other two and not just by making Hotel Oblivion into Obsidian. It also makes the hotel much more a real world location than a “pocket universe” and it meshed in the Sparrow academy too, which in 2026 is still a releasing volume…so not sure why they did that. I enjoyed the season, but I think I enjoy this volume way more.

Luther is magically fit again and he and Diego head to space—and then an alternate plain of existence—with a character that looks kind of like a caricature of Hayao Miyazaki of Studio Ghibli. Allison has a team up with Five, who is in a full on Agents of Shield-esque costume. Klaus is captured and put into seance work by a biker gang, much like in season 3 of the show. And Vanya is still recovering, but robot Mom is being awfully weird.

Hotel Oblivion is just that: Oblivion. A hotel filled with cockroach dinners and The Umbrella Academy’s very own rogues gallery. Until now, once you arrived at the hotel you were as good as gone, but some people just don’t know how to give it up. And believe it or not, you might see some familiar faces too! This whole volume felt to me like more of a natural superhero story than the first two. Not only does the hotel’s existence (and loaded up capacity) show the Umbrella’s legitimacy, but it also allows for the most climactic ending yet: a full on battle…with of course a Sparrow cliffhanger.

I am happy to see that Volume 4: Plan B is up for preorder. I don’t believe it was announced when I first ordered the 1-3 box set. I think this one would have worked well as an epic send off, not that there weren’t loose ends or anything obviously, and of course I am glad to have more. I hope it’s awesome.

Another solid entry! Onto You Look Like Death.

I’m so glad that I made time to roll right on through these after my rewatch of the show. As season 2 is my favorite, I was particularly excited for this.

After the cost of their “win” in Apocalypse Suite, each of them is a tad off balance. They’re separated, even those not split my distance, and there’s once again something brewing. Luther is drowning himself in sweets, Diego is too steadfast for his own good, so convinced he’s onto something, Allison still can’t speak, Klaus is now kind of famous and fine?? (which is actually atypical), except for the run in with death of course, Five is doing some racetrack betting (and worse), and Vanya is bedridden, barely having survived. Will they be able to reel themselves in, to save the world again?

This is pretty similar to the events of season two, however in a somewhat different order. The Commission and the Temps Aeternalis are heavily involved in this one, and we even get Hazel and Cha-CHA! With their masks they really make a splash on the page and they easily steal the show. The other Commission workers are much more colorful in the comic, popping off the page in stylized yellow and reds. And it makes for a more comic villain feel for sure…and of course, it’s even more wacky.

I always thought the show had Luther stuffing his face because of his giant physique, but he often does it when he’s stressed, so maybe it was actually a nod to this volume and his weight gain. I wonder why Hazel and Cha-Cha were introduced in S1 and they decided to have only Klaus take a stint in Vietnam. I enjoyed how in the comic more than one of them were there and how Diego took the reins. It was a bit strange to have the crew all over the place, but this felt like them spreading their wings.

While Apocalypse Suite introduced the gang and their personalities, Dallas felt more matured and lived in. It may be its own sort of alt-history, but it’s still a commentary on the hyper-violence in American history. It also felt like a step toward building into something that could run for quite a while. I’m excited for more.

A huge thanks to Saga Press for the physical arc. The hardcover with its naked artwork and sprayed edges is a real treat.

I requested this one off the blurb and the fact that it said the author was a writer for Netflix’s The OA series. Not only was I a fan, and it was canceled before its time, but it was also filmed in my high school and the new neighborhood that bordered it, which is a super cool thing to have happen.

A poem on an old rock speaks of a second coming. The sink is filled with floating rocks, clinging to gravity out of the endless friction in the sink. For many, there is only the concept of rising, of bettering themselves, but it is also based on fear. The Sinker has no such fear, and has sank further than many thought possible. If others are so afraid to sink, then next to no one is bringing information back and forth, leaving untold knowledge below. And that just might be important to what’s coming.

I will say off the rip that I think a book with this many terms created in-world has got to come with some sort of index. Maybe because I got it early it didn’t have it, so maybe that’s a me problem, but I just really hope it includes it. Things like “the sink” and the idea of people being “sinkers” or “risers" were pretty easy to pick up on, but there were others I would have liked to have an idea of. Again, that may be a me thing, but when a book—especially one with worldbuilding like this—has that many terms (I’m bringing to mind Toothsucker by Kaden Love) I’d personally read through the key first.

This book is certainly original. Worldbuilding unlike anything I’ve ever read, and I don’t think it can be mimicked either. The idea that right off the edge of your existence is an endless “world,” that all you have to do is take the leap, is really something special. I liked the idea of the sink just being this endless friction between spaces, that people could train on how to traverse it. It is a void much like outside our planet, yet it is unlike space. And while many may wear special uniforms to help with friction, it’s not really like being an astronaut or anything. Each rock has its own way to get by, to survive the void, and with so many staying put, they have different cultures and “codes” too. It was a bit hard to picture at first, but the idea itself leaves this really lush, lived-in feel where one rock can be farmers, the next gladiators.

The characters really shine too. The author has put together a cast that you really can grow to care for. If he was a part of the character growth on The OA, then I can really see why it’s so good. The Sinker, while only going by a moniker, is anything but a caricature. She’s complex with a harsh past, a driven story. She is pushed by anger and yet helps people over and over. She’s compelling, and likewise those she comes into contact with become the same as well. The Construct, a hulking amalgamation of rock, outcroppings, add-ons, and engines, is this wonderfully imaginative space. Led by the Garent, a seemingly ageless man with a fantastic winter wardrobe, and home to a disgusting set of insects. Hiram Goegal, who has probably my favorite name ever (and I loved the fact that he was called his full name almost every time) is also a great character. Technically part of the “villains,” perhaps, but truly thinks he’s on the path of doing what’s right.

Fascinating and unique, this meshing space sci-fi and fantasy into its own little new sub-genre. A bit of a slow start, but by the end you’ll be begging for book two.

A huge thanks to Saga Press for the physical arc. The hardcover with its naked artwork and sprayed edges is a real treat.

I requested this one off the blurb and the fact that it said the author was a writer for Netflix’s The OA series. Not only was I a fan, and it was canceled before its time, but it was also filmed in my high school and the new neighborhood that bordered it, which is a super cool thing to have happen.

A poem on an old rock speaks of a second coming. The sink is filled with floating rocks, clinging to gravity out of the endless friction in the sink. For many, there is only the concept of rising, of bettering themselves, but it is also based on fear. The Sinker has no such fear, and has sank further than many thought possible. If others are so afraid to sink, then next to no one is bringing information back and forth, leaving untold knowledge below. And that just might be important to what’s coming.

I will say off the rip that I think a book with this many terms created in-world has got to come with some sort of index. Maybe because I got it early it didn’t have it, so maybe that’s a me problem, but I just really hope it includes it. Things like “the sink” and the idea of people being “sinkers” or “risers" were pretty easy to pick up on, but there were others I would have liked to have an idea of. Again, that may be a me thing, but when a book—especially one with worldbuilding like this—has that many terms (I’m bringing to mind Toothsucker by Kaden Love) I’d personally read through the key first.

This book is certainly original. Worldbuilding unlike anything I’ve ever read, and I don’t think it can be mimicked either. The idea that right off the edge of your existence is an endless “world,” that all you have to do is take the leap, is really something special. I liked the idea of the sink just being this endless friction between spaces, that people could train on how to traverse it. It is a void much like outside our planet, yet it is unlike space. And while many may wear special uniforms to help with friction, it’s not really like being an astronaut or anything. Each rock has its own way to get by, to survive the void, and with so many staying put, they have different cultures and “codes” too. It was a bit hard to picture at first, but the idea itself leaves this really lush, lived-in feel where one rock can be farmers, the next gladiators.

The characters really shine too. The author has put together a cast that you really can grow to care for. If he was a part of the character growth on The OA, then I can really see why it’s so good. The Sinker, while only going by a moniker, is anything but a caricature. She’s complex with a harsh past, a driven story. She is pushed by anger and yet helps people over and over. She’s compelling, and likewise those she comes into contact with become the same as well. The Construct, a hulking amalgamation of rock, outcroppings, add-ons, and engines, is this wonderfully imaginative space. Led by the Garent, a seemingly ageless man with a fantastic winter wardrobe, and home to a disgusting set of insects. Hiram Goegal, who has probably my favorite name ever (and I loved the fact that he was called his full name almost every time) is also a great character. Technically part of the “villains,” perhaps, but truly thinks he’s on the path of doing what’s right.

Fascinating and unique, this meshing space sci-fi and fantasy into its own little new sub-genre. A bit of a slow start, but by the end you’ll be begging for book two.

Thanks to Macmillan Audio, Tor Nightfire & Netgalley for the audio arc! I thought the cover was cool and was glad to be offered a copy.

This meshes notes of Peter Pan and Lord of the Flies with real world abuse and shared trauma. Riley and her brother, Oliver, are stuck in a troubled home after the death of their mother. A “home” where they are starved, emotionally abused with zero privacy, taught religion that’s wielded like a sledgehammer, and even forced to do hours of heavy lifting. But then there’s a knock at the window, an idea, a dream, taking shape. The idea that they could escape, flee. To make it to Nowhere. All their lives they’ve heard the stories of the Nowhere children, how they live alone, supporting each other and keeping adults and outsiders away. If they could just make it there, could it be the freedom they so desperately crave?

I enjoyed that this story was twofold. The added layer of not only adults, but investigative journalists/podcasters gave the story depth. Not to mention this sort of creepy-crawly feeling as they do their best to get to the bottom of what really happened, and is happening, at Nowhere. A movie star’s old burned down home where secrets abound. The group of children that only slip into the nearest town when they need to steal to keep going. It’s almost as if they’re ghosts.

I enjoyed the characterization of the children. Riley and Oliver in particular. Their familial depiction was a really solid showing of how strong the bother-sister bond can be (I have two) but also how tainted and complicated things can be as well. Because Oliver is so young, the damage caused at the hands of their abuser, their demon, is enough to keep coming back. With no one else but Riley, there’s no one else for him to blame, to lash out at. And Riley is a good depiction of unconditional love, even if that can be tainted too.

Nowhere is a fantastic name. I bounced between believing it was a place and that it was just the idea of safety and escape, that maybe nothing was really happening. And in that exact sense, it really is something along the lines of a very dark Neverland. Some of that darkness comes from Nowhere’s Lord of the Flies-esque past where the kids broke off into tribes that would fight for resources. And that being only briefly mentioned in the past kind of set up this looming threat overhead that it could happen again.

During most of my listen, I did enjoy the story, but I was leaning toward it being just okay/good. I wasn’t being blown away or anything, but the ending twist, to which I had several theories, really ended up getting me good. Like, I could not believe I didn’t see it all along good. And that really bumped up my enjoyment. It’s wild to me when it happens. Not just that I got it wrong, which although I do read horror/thriller/mysteries all the time does happen, but that I was so completely off.

A family drama that packs a punch with its dysfunction and yet also its perseverance.

After recently finishing a rewatch of the show, I was once again inspired to crack into the boxset…this time I will read them all.

Finally popped open my box set of Vol 1-3. After finishing the show, I knew it was time to get to the source material finally.

If anything, this comic is more off the rails than the show! Which does make sense, but the show was pretty out there to begin with. A group of babies are all born at the same time, mostly to women that were not noticeably pregnant beforehand. For some reason, Reginald Hargreaves sets out to adopt as many of them as he can, eventually succeeding with 7. As he raises them, it’s apparent that he doesn’t do so out of the kindness of his heart, as each child is only bestowed with a number as a name. And eventually he launching them as their own children led superhero group. It’s apparent that they have their own rogues gallery, as well as some serious successes (and losses, aka Ben) but this is focusing on the adult versions of them.

00.05 has been stuck in the future, desperately trying to solve how to return. When he finally does, something wrong happens, and he is stuck inside his body from boyhood. His return is nothing if not timely, as they have just days to stop the end of the world.

While much of this is like season 1 of the show, it differs in some subtle ways, and in some major ways when it comes to 00.07. There are some absolutely explosive and brutal panels in this, with blood and gore that surprised even me, and it was really cool to see them in full color (reading through TWD had the volumes’ covers in color, but the panels in black and white). The main thing that stood out to me was how much more of the characters you get in the show. There beats and banter is clearly taken from the source material, but its format doesn’t allow for them to open up as much, and that’s where the show really shone for me. But that is the necessary differences when you are reading short form, so I cannot wait to get into vol2 so that I can get into more of who they are. It’s such a fun read.

Reread edit: Still agree with my comments and rating on a second read. This time I watched the show from start to finish and then got right into this, as opposed to watching the seasons as they aired, and it was interesting to see the budding of personalities here. Gerard Way even said himself (I believe in the back of Dallas) that this first volume even they weren’t sure what to do/what the Umbrellas would become and I think I get that vibe. It stands tall in its uniqueness and generally weird vibe, but the characters are shy personality wise. Obviously making Vanya pretty much a person sized violin was a wild choice. I can see how the show was directed by this set up though for sure.

I think the choice to age up Five a bit was a good one. Not only do I love Aiden Gallagher as Five in the cast, but I think to get his personality and delivery across you do need someone with a bit more age and depth. Luckily he was up for it.

This was a free comic book day short, and it’s still free to this day on kindle. It is also included in the back of volume one on the 1-3 boxset I own, so I’m glad it’s far from hidden.

This is a prequel short to the series. It really helps set up the tone and art of the series, and I think it’s a fantastic place to start. I almost wish we saw this and some other events (like the Paris rescue) at the opening of the show. I know fans received some flashback scenes, but there was not much in the way of heroics. It could have worked as a brief bit or shorts like the opening “4 years” sequence in the latest Fantastic Four. It would have given some depth I think, and seeing some of their villains would help explain why the world needed 6 child superheroes…

The Murder Magician and his helper felt kind of like a nod to Joker and Harley Quinn but without being a rip. This short gives us a snapshot into the stylized art that we’ll see throughout the rest of the series, and even offers readers an important snippet into how the Rumor’s powers work, which is different from the show. The idea that her sowing lies would actually create altered realities is really neat. I can see how that would get awfully messy for the show though.

Overall a swing-for-the-fences opener.

Finally popped open my box set of Vol1-3. After finishing the show, I knew it was time to get to the source material finally.

If anything, this comic is more off the rails than the show! Which does make sense, but the show was pretty out there to begin with. A group of babies are all born at the same time, mostly to women that were not noticeably pregnant beforehand. For some reason, Reginald Hargreaves sets out to adopt as many of them as he can, eventually succeeding with 7. As he raises them, it’s apparent that he doesn’t do so out of the kindness of his heart, as each child is only bestowed with a number as a name. And eventually he launching them as their own children led superhero group. It’s apparent that they have their own rogues gallery, as well as some serious successes (and losses, aka Ben) but this is focusing on the adult versions of them.

00.05 has been stuck in the future, desperately trying to solve how to return. When he finally does, something wrong happens, and he is stuck inside his body from boyhood. His return is nothing if not timely, as they have just days to stop the end of the world.

While much of this is like season 1 of the show, it differs in some subtle ways, and in some major ways when it comes to 00.07. There are some absolutely explosive and brutal panels in this, with blood and gore that surprised even me, and it was really cool to see them in full color (reading through TWD had the volumes’ covers in color, but the panels in black and white). The main thing that stood out to me was how much more of the characters you get in the show. There beats and banter is clearly taken from the source material, but its format doesn’t allow for them to open up as much, and that’s where the show really shone for me. But that is the necessary differences when you are reading short form, so I cannot wait to get into vol2 so that I can get into more of who they are. It’s such a fun read.