Bentley Ferraina
Kind of a try-hard-edgy, Zack Snyder/Joss Whedon vibe here that is a little unappetizing.
Kind of a try-hard-edgy, Zack Snyder/Joss Whedon vibe here that is a little unappetizing.
As someone who’s read this twice and even taught it in 9th Grade, it leaves something to be desired. Things that are a little too few and far between: stretches of world-building to make the apocalypse more loved in and undergird; the social critiques; motif bricklaying (e.g. the astronaut stuff); romance plots that aren’t a little skeezy; and explanation for what caused the apocalypse (not always necessary, but could be helpful here).
As someone who’s read this twice and even taught it in 9th Grade, it leaves something to be desired. Things that are a little too few and far between: stretches of world-building to make the apocalypse more loved in and undergird; the social critiques; motif bricklaying (e.g. the astronaut stuff); romance plots that aren’t a little skeezy; and explanation for what caused the apocalypse (not always necessary, but could be helpful here).
Took about an hour to read — and probably about an hour to write, but it’s a harmless way to pass the time.
Took about an hour to read — and probably about an hour to write, but it’s a harmless way to pass the time.
The influence had on future sci fi like Dune and Star Wars is undeniable, but this read like a radio play. Nearly every scene in every story is just two guys talking in a room. The first two stories overcome the stylistic limitations, but the back half of is rough — despite the compelling (and very 1950s) ideas.
The influence had on future sci fi like Dune and Star Wars is undeniable, but this read like a radio play. Nearly every scene in every story is just two guys talking in a room. The first two stories overcome the stylistic limitations, but the back half of is rough — despite the compelling (and very 1950s) ideas.
