Wilkie Collins writing career spanned some 30 years (1850-1880). During the last ten years his writing skills declined due to poor health and opium addiction; some of his later novels are really bad (semi-theatrical melodramas). Surprisingly 'The Haunted Hotel', one of the last works by Wilkie Collins, is a rather nice, compact ghost story. Fans of Wilkie Collins will be pleased.

The story is about, um.., a haunted hotel. Several characters, mostly squabbling aristocrats, return to the Venetian home (now hotel) of a deceased colleague (..a rather nasty fellow). The past comes to haunt these guests in rather metaphysical ways. It's all a bit silly, of course. But the decent prose and characterizations save 'The Haunted Hotel' from being some camp ghost story.

Bottom line: certainly not a classic but enjoyable nonetheless.

...This little volume contains enough suspense, fog, and familial twists-and-turns to satisfy any modern mystery fan (if one overlooks the inherent sexism that dates this book)...not to mention the delicious sense of voyeurism in peeking in on this group of gentle Englishfolk. Read it and remember when mystery writers could actually write.

If you are a Wilkie Collins fan, well then, add this title to your list. I have. A story filled with suspenses and mystery. It keeps you turning the pages until the end. Who killed the count or did anyone? What happened to the courier? Is the countess mad? Told partly by letters and differing characters' perspective it is typical of Collins' narrative style. He takes the readers to a most stupendous climax in Venice. It is a ghost story, a fun read, like watching an old black and white movie. Recommeded!

It comprises 49 articles (14 regarding basic principles of radio transmission, and 35 regarding wireless systems). The articles regarding basic principles are fine, covering from analog modulation, to spread spectrum. They are more than enough for most students and engineers. However, the second part, is a little bit obsolete, and very general. Some specific mobile technologies are overviewed, but thsi is not enough to have the complete picture of a mobile network. It will be a great book for reference in any library, but not for learning mobile communications seriously.

Now in an updated second edition, The Communications Handbook is an extensive, scholarly, professional level resource to the practical applications of electrical engineering technology for telephones, communication networks, data recording, source compression, and much more. The Communications Handbook is strongly recommended as being an utterly exhaustive reference resource which is packed from cover to cover with extensive in-depth science and technical applications.

Don't waste your time with any other book on telecommunications. Choose this one. The book has extensive, well-written information covering so many aspects of telecommunications that it would be difficult to say that anything was left out. There is good coverage of the newer ATM and SONET technologies, although Internet (TCP/IP) is just glossed over and video is covered briefly. I found lots of info on fiber optics, wireless (hundreds of pages for each) and satellite transmissions. You'll need a calculus background for the equations, of which there are many in sections on modulation, compression, transmission, and speech/coding. Other sections have less or no mathematics, for those not so inclined, and coverage is good on networks, principles of telephony, standards like ISO, CCITT, and two extra chapters on data recording onto magnetic/optical media. Small details are not left out -- things like channel coding, coversion to digital, echo cancelers, even how to splice and join fiber optic cables. Each chapter ends with a glossary of terms and references for further reading. Reading this book -- and it is a substantial read, not something for a weekend, but more like the whole summer -- gave me an appreciation for the intricacies of telecommunications that I hadn't had before -- and I've 15 years experience in the industry. It is well worth the high price, and well worth reading if you need or want details on telecom. Highly recommended for anyone with an engineering or technical background as well.

I thought the value of this book lied not in its story (it was forgettable), but as a sort of cultural museum, allowing one to look into what English "high society" was like at the end of the 19th century.

What it was, I found, was horribly superficial and empty. These people had little to do with their time except gather at eachother's parlours and chat idlely and endlessly. But with nothing to talk about and all day to talk about it, it was considered better to sound "clever" than to have something meaningful to say; style was valued in the absense of substance. No one said what they felt, no one felt strongly about what they said, and the whole frustrating lot of them came across as a bunch of phonies. They were all but toppling over with the weight of their own pretensions.

The reason I found this frustrating, though, is that in his other works I have read (admittedly not that many), the reward for struggling through James' prose is his deeply penetrating understanding of human nature; clearly, James "gets" people, and it shows in his sharp observation and subtle wit. So that made me struggle all the more to peel back the layers of clever chatter to "get" what James was driving at, but after I turned the final unfathomable page, all I could say was "huh?"

Critics will often pair this novel with his earlier "What Maisie Knew."

Both novels deal with the child's / adolescent's emerging conscience, while faced with adult corruption.

In "Maisie" and "Awkward," we see James following up on his fascination with Hawthornian themes.

James's facility with dialogue, in which abrupt blushes are loaded with meaning, is apparent here. The drawing-room conversations reminded me of a party in a swimming pool; each character is constantly, in a conversational sense, "taking a plunge and coming up somewhere else."

I found this novel somewhat thin - read closely James's "Preface to the New York Edition"; can you hear James in self-defense mode?

Overall, not bad, but "Maisie's" somber and gloomy tone was better suited to the subject matter and themes than the "light and ironic" touch of "Awkward."

This novel tells a familiar tale: old-fashioned man enters a tangled web of wealthy British fashionable types, makes a proposal, and the web falls apart. Mr. Longdon, a wealthy old man from Suffolk, returns to London to find the children and grandchildren of his ancient love. Out of respect for this unspoiled affection, he takes an interest in the grand-daughter of his love and tries to pull her out of the circle of influence that has, effectively, soiled her. James manages some interesting and convincing characters, and these pawns interact in some magnificent scenes. It almost reminds me of Restoration Comedy, with its complicated dialogue and dramatic jumps in setting that resemble staged scenes. The major thread of the novel is the relationship between Vanderbank, a complicated but good-natured young man who has managed to penetrate that affluent circle, and Nanda Brookenham, the granddaughter of Longdon's lost love. Vanderbank remains deliciously puzzling to the end of the novel, and Nanda manages a kind of heroism. The conclusion is somewhat surprising; James, by this point in his career, seems to have moved beyond the endorsement of conservative values evident in a work like The Bostonians. Despite the surprise, though, it was a great deal of fun getting to that conclusion. This novel is as close to a page-turner as I have read from James thus far, and bristles with subtle interrogation of a rotting social structure. I have no trouble saying, like F.R. Leavis, that this novel ranks among James's best.

Fitzgerald may not have been overly fond of his short stories, but his writing skill and insight shine through anyway. In The Ice Palace and Bernice Bobs her Hair and the Four Fists in particular, Fitzgerald captures individuals struggling with themselves. Who/what should they be, and why? While I wasn't too fond of the pirate story, as it lacked these elements, the other stories in the book show a depth of understanding and introspection that makes for a wonderful, thoughtful read.

Fitzgerald's stories manage to unite his otherworldly grasp of the fluctuations in the human soul. He is a master at presenting its contrivances and vanities as things that happen to people. The tension in these tales rises with almost unconscious force. Red herrings of possible conclusions are whispered but almost in the style of a trickster. Someone always gets conned and someone unmasked- all within that now long-gone era that held a fullhouse of interesting details and premonitions of an ominous future. "Beatrice Bobs her Hair" always has something more to say about savage young ladies. It deserves its place, I think, in every highschool English curriculum. The spoiled rich girls inevitably fall madly in love- with the cads or the tricksters. It was interesting to read "Benediction" in this era of the priest scandals. How priests were seen by Fitzgerald, or perhaps how he conceived his alter ego- is apparent in his return to his natural self through the heroine's choice at the end. This writer always has a trick up his sleeve for the unpredictable conclusion.
I am surprised that there are not more raves over this collection, but perhaps that is the nature of the post modern era. I on the other hand -rave. Story, resolution, all those little formulas that separate the artist from the amateur in the impossible short story form. Fitzgerald, except for perhaps in Gatsby, never achieved such form and plotting in his novels. His youth too, can be sensed in the humorous and rather light-hearted manner by which he casts his characters and those obstacles that they encounter.

This collection of short stories takes a candid look at America in the early 20th century. There isn't a stinker in the lot, but I think "Bernice Bobs Her Hair" is my favorite. Fitzgerald has a way of making his readers connect with unlikeable characters that seems almost magical.

As with most high school students, I was required to read and analyze "To An Athlete Dying Young." Its simple structure, elementary language and subject matter to which I could relate all made it one of my favorite poems at the time. Now, years later, it remains very interesting and drew me into A Shropshire Lad. I was curious to see the other material Housman published and was thrilled to find that all of his work shared similar attractive qualities. His poetry is accessible to even the most novice poetry readers (like myself) and clearly expresses complicated thoughts with beatiful language. Housman's empasis on the brevity of life, death and war are not happy topics, but they are realistic and it is valuable to consider his concise thoughts. I think this book, which essentially follows the life cycle, is full of fascinating poetry that anyone will enjoy, no matter what level you wish to analyze the material. It is a terrific collection.

...in A. E. Housman's "A Shropshire Lad." He is obsessed with death and the brevity of time. He is determined to wring meaning out of a teen soldier's blood-soaked shirt, to bring beauty out of tragedy.

Poets' critical reputations move up and down like a sine curve. Given the increasingly unread status of poetry, however, one would think that Housman's rep would be on the upswing, since he presents his ideas with clear language, pleasant rhyme, simple trochaic or iambic meter, archetypal imagery, and intense emotion; his is among the most plain and accessible poetry a major author has ever crafted, a boon to the genre at a time it's largely being ignored.

Still, people tend to read Housman wrong. They claim he's either promoting or deriding war. In fact, he's doing neither; war is simply an unfortunate fact of life for Housman. People must confuse him for Wilfred Owen, who actually does fulminate against war or Rudyard Kipling, who actually does promote it.

... Even the lovely rural setting of the poems, which in another book he refers to as "the land of lost content," suggests the rapture and freedom of boyhood is being mourned as it passes. Battle death is often a stand-in here for the death of innocence. War is only slightly more awful toward the body than time itself. War is only Housman's metaphor; love is his objective.

This review refers to the Dover Thrift Edition Paperback of "A Shropshire Lad"....

Without getting too analytical of the poetry itself or the meaning of Housman's works,as I am not a poet myself, I will say that I throughly enjoyed this edition of "A Shropshire Lad". Although Housman's words at times may seem a bit like the antedote to exhilaration, he seems to speak from the heart and wisely about the cycle of life. The never ending scheme of things.The seasons and the earth changing year by year. Young men falling in love, going off to war, coming home wounded, dead, or finding their loves no longer want them. It brought to mind for me, the song by Peter, Paul and Mary "Where Have All The Flowers Gone".

Although these words were first published well over 100 years ago, I found there is still meaning in his words.Many of the lines in this book I found to still be quoted today. For example in poem LVI-"The Day of Battle", he ponders this:

"Comrade, if to turn and fly
Made a soldier never die,
Fly I would, for who would not?
Tis sure no pleasure to be shot

But since the man that runs away
Lives to die another day,
And cowards' funerals, when they come,
Are not wept so well at home,........."

This Dover Thrift Edition is a great value for the price. It contains all sixty-three original poems of "A Shropshire Lad" including XIX-"To An Athlete Dying Young"(which you've heard if you have seen the film "Out of Africa"). It has an index with notes on the text which will clarify some of the names and places Housman uses that might be of geographic or historical value to the reader, and also has an index of the first lines, helpful in finding a specific poem. It's a small lightweight book you can easily throw in your purse, briefcase or even a large pocket, that you can pull out to read while you have time to kill or while traveling. It's something to add to your cart when you need just a little bit more to put you into that free-shipping catagory!

Dover Thrift has many of these little books of great literary works, I plan on adding more to my collection....enjoy....Laurie

"The Road to Oz" is the fifth book in what is perhaps the greatest fantasy series of all time.. however, it's not really a book I'd recommend to show people how wonderful the series really is. At this point it seems that Baum was getting a little weary, and it shows, as this book has almost no discernable plot or conflict at all. Dorothy, again, gets lost in a fairyland, and again makes her way to the Emerald City, assembling a small band of strange and endearing characters along the way -- the same as she'd done three times before. What made this a weak entry is that there was no sense of urgency here. Dorothy was never worried, she knew as soon as she found Ozma she'd have a way home, there was no villain... by the time she made it to the Emerald City the book had been liberally dotted with references to how everyone in Oz loved one another and nobody was ever mean -- unless, of course, you're a wicked witch, but they had both long been vanquished at this point.

The land of Oz is built on strange situations and characters, but also on story. In the original "Wizard of Oz," Dorothy and her friends faced the witch, hoping to send her home. In "The Land of Oz," Pip had to deal with an entire invasion of the Emerald City. In "Ozma of Oz" there was the wonderful story of the rescue of the Royal Family of Ev.

By book four, "Dorothy and the Wizard in Oz," Baum seemed to have run out of plots and contented himself, in these few volumes, with just bringing in new characters and not bothering to craft a story around them. In book six, "The Emerald City of Oz," he took the step of placing Dorothy in Oz permanently, which was probably the best thing he'd ever done, because later volumes no longer needed to concern themselves with finding ways to get to Oz and just told really wonderful fantasy stories. ("Tik-Tok of Oz" is still my favorite in the series.")

The Oz books, in toto (no pun intended), are wonderful for people of any age, but this installment is really for completists only.

Everyone has their favorite Oz novel, but of the 14 which Baum wrote, this one is, in my opinion, the weakest. Unlike other Oz books there is little in the way of plot. This makes reading it uncomfortable as the reader spends most of the book waiting for somehting to happen, only to realize at the end that nothing happened. Also, I loved the tense yet humorus situations Baum masterfully set up in the other books. I rorared with laughter in the second book when Jelia Jamb "translated" for the scarecrow and Jack Pumpkinhead. The trial from book four and Dorothy's capture by the people of Utensia in book six also made me laugh while also clutching the book with fascination. There are no comperable scenes in "Road to Oz" and this is sorely missed.

However, the book is still worth reading. For one thing it introduces the Shaggy Man, who proves to be a most enjoyable character. The Shaggy Man carries a device called the love magnet, which causes people who see it to love him. This subplot introduces a very mature and though-provoking conflict. Is it right to enchant people into loving? Is this a power that one person, even a well-intentioned one, can hold alone? What are the drawbacks of being loved by everyone? This subplot held my interest and made the story readable.

Finally, there are cameo appearances in the end from many of Baum's non-Oz books. Clearly these appearances are a plug for his other works. One cannot fault him too much for doing this though. Baum wrote many fine books which had nothing to do with Oz, and this needs to be remembered.

Despite this book's weakness, it did not signal the decline of the series. Most of the later books were quite good, and I found "The Tin Woodsman of Oz" (number 12) to be one of the best. Keep reading, as altogether there is nothing like the Oz series.

...but it's an Oz book so in comparision to other children's novels that aren't from the Oz series it still gets a 4 out of 5. Worth reading, but don't expect the excitement of some of the earlier and later works by Baum and Thompson.

In the early 1920s, Theodore Gumbril Jr, disenchanted with his teaching job in a boys' school, leaves for London determined to pursue his idea for "pneumatic trousers". After his arrival, Theodore enters the strange world of London's well-to-do dilettantes.

This satirical novel reminded me of Evelyn Waugh's early novels and of some of Anthony Powell's work (perhaps Huxley influenced those authors). "Antic Hay" is not a novel with strong plot development, rather Huxley concentrates on the attitudes of his characters. Theodore Gumbril soon ceases to be the main character of the novel, his importance being no more and no less than several others. This was a bit surprising given his prominence at the start.

Huxley satirises the opinions, actions and mores of the well-heeled young artistic "society" animals of the time. His style is at times very sharp and witty, and I felt that he was trying to scratch beneath the facade of their lifestyle, where lies a bitter meaningless to their existence, and a despair with the society they live in. "Antic Hay" is not, therefore, a novel for people who enjoy fiction based on a strong pplot, but it is an interesting period piece, reflecting the uncertainties and disaffection of one particular part of British society shortly after World War One.

G Rodgers

Huxley I can usually take or leave, but not Antic Hay: there are just too many farces to decipher for me to put it down. Huxley's women are beautiful and easy; his men are amoral and excrutiatingly clever.

But underlying their antics is a novel of incredible complexity. Huxley makes his attentive readers squirm as we recognize our own pretensions and idiocies in his archetypal characters. Ouch, ouch, ouch.

The other gift in this novel is that it has helped me appreciate and understand the work of other writers such as Waugh and Mitford: i.e., in order to enjoy them, you have to suspend your own understanding of life and realize that there actually was a thriving class of people in England who didn't have jobs, relied on servants, and had no lives to speak of. And were bored to tears by their sumptuous privilege, believe it or no.

For modern readers, I'd say this is a pretty tough read. I know a respectable amount of both French and Latin, and I had to look up at least part of most of those passages. But if you're prepping for the vocabulary section of the GRE or the SAT...this book will provide you with myriad words to look up and learn, including the wonderful "callipygous".

Maybe I should give the rest of Huxley's work another reading...

Crome Yellow was Aldous Huxley's first book written when he was 27. The early Huxley was the best: when Huxley was young, he was fluid, enthusiastic, and his potential was limitless. As he grew older, he became more calcified, limited, and he spent the last years of his life in California, mired by his own mystic obscurisms. Crome Yellow centers around a house called Crome (like Wuthering Heights centered around a house -Abbey Grange) Crome was a gathering place of artists. The hero of the story is Denis Stone, a naive neophyte like Huxley was at the time. When Huxley grew more sophisticated, so did his characters. This book attacks the ennui, and existential malaise of life with a righteous indignation that is refreshing. He also uproariously endorses the common feeling of misanthropy that all refined cynics must feel. Huxley played the expatriate game, most of his life, to draw on his own words from Crome, he was "one of those distinguished people who for some reason or other, find it impossible to live in England." He spent most of the 1920's in Italy. Crome Yellow is a great introduction to Huxley, as well as a great way to know him better. It is difficult to believe that Huxley was so young when he wrote this. He writes like a 50 yr. old in this book.

The best part of this book is the 2-cd set which contains a plethora of samples. The samples all describe various scenarios of compression, limiting, microphone strategy, enhancement, you name it. I was impressed with the authors articulation toward a brand new user.

However, I was expecting a "Comprehensive Guide." The book was quite basic and never got past the fundamentals of anything. Common sense topics such as reverb literally go on for pages and pages. For example, it takes 3 pages to explain the punch-in process on a 4-track.

Speaking of punch-in, this document is targeted at people using tape. PC users should investigate another document, there are however 12 pages dedicated to 4-track usage.

I'll warn you, most of the samples are things you could do with your own effects. "Here's a violin with no reverb. Here's the same violin with hall reverb," etc.

What really frustrated us was that there are endless references to sections in Volume I. It interrupts the flow of the book. I feel that the author misled me. I was tricked into buying half a book. I can't return the book because I opened the cd already.

This is a great book if you are new to the concept of recording your music and want to be eased into it.

The Audio Pro Home Recording Course (a comprehensive multimedia audio recording text) excelled in showing basics like mike placement augmented with audio clips that let you hear what the text wrote about. It started off too basic, then built to great interest, then faded fast with too much that was too basic and too little that was important. Like, lots of clips about where to place a mic over a drum set, but little to nothing on how to set various effects and processes. The cover picture shows an engineer at the console looking at artists performing, but not a piece of paper in sight to show who does what, what notes to take, how to keep records, how to create a decision making process and who to include it. This is only Vol. I. It apparently takes all three volumes to be be "comprehensive", so prepare to invest in all to get the gems found in each one. I learned a lot, there were reference gems to treasure, but "comperehensive", well, I'd need to spend another $[money] to know the rest of the plot.

A real course on recording and mixing techniques. The 2 supplied CDs are full of examples (each one explained in the book) which let you listen to what happens when you do so and so. Of course is better for you to re-apply what you learn on your own gear, but listening to the CD is like attending a course with a teacher explaining.
Be careful that this is the SECOND volume of a serie of three, so it is better to start from the first. In my opinion this is not clearly stated in Amazon site. In any way, I had no great problems starting from volume II.

P.S.: I have some experience, but I'm definitely not a professional engineer. The book is clear enough to be understood by anyone who has carefully read the manuals of your mixer, recorder and other gear you currently use.

I chose this book to read and analyse a couple of years ago. It seemed to have simple meaning, but the more I tried to analyse, the more outstanding I found the book, and far from simple.
Helen Alving is a widow and is keeping a secret. One day she tells her friend Manders and he's quite shocked. It all has to do with some money from her dead husband that she doesn't want her son to have. Oswald, her son, comes home from abroad with very sad news. He is ill, and there isn't a cure for him. When Mrs. Alving is told that it was most likely inherited, she tells her son the secret too, and that changes his view on his father. As the book goes on, the intriques grow bigger...
Ibsen is probably more known for his play "A Doll House", but this one is just as great. He was very critical of the society and most, if not all, of his books often has a somewhat hidden story where he debates social matters and also morals. He use symbols and mostly contrasts to give the play a certain atmosphare and meaning. I believe this is one of Ibsen's greatest plays and strongly recommend it to anyone.

Although Henrik Ibsen is the first great modern dramatist, his play "Ghosts" ("Gengangere") bears a strong similarity to ancient Greek drama, where the "tragic flaw" of the protagonist lives on in his children. However, in this story the curse on the Alving family has a medical basis. Published in 1881 but not performed until the next year because of its controversial subject matter, "Ghosts" deals with the impact of congenital venereal disease on a family. "Ghosts" strongly reflects Ibsen's desire to attack hypocrisy and conventional morality and caused even more of a furor that his previous drama, "A Doll's House."

Helen Alving is building an orphanage as a memorial to her late husband and the night before the dedication she confesses to her old friend Parson Manders that her husband had been a "degenerate," and she is building the orphanage using her husband's "dirty" money so only her own money will pass on to her son, Oswald, who has just returned from living abroad. But then Oswald confesses he has a debilitating, incurable disease that the doctors believe was inherited. Even from beyond the grave, the "ghost" of Captain Alving ruins the life of his family. Mrs. Alving has to confess her husband's past to their son, destroying the young man's idealized view of his father. Knowing he is dying, Oswald wants to seduce the maid, Regina, so that when he enters the next stage of the disease she will give him poison. Oswald does not care that Regina is really his half-sister, and in the end it will be his mother's decision whether or not to give her son the poison when Oswald begins to have his attack.

The ending of the play constitutes a Rorschach test for the audience, with Ibsen refusing to let them off the hook. "Ghosts" is probably the Ibsen drama that relies most on symbolism, from the heavy use of light/dark imagery to the purifying aspects of fire, to the obvious symbolism of ghosts. Consequently, I think this makes "Ghosts" one of the easier plays by Ibsen for students to analyze. Final Argument: Reading Ibsen's plays in order has greater benefit than usual. If you read "A Doll's House," "Ghosts," "An Enemy of the People," and "The Wild Duck," then you will see the playwright struggling to find a play that will reflect his deeply held beliefs and also find widespread critical and public acceptance. The relationship between each set of plays in the progression becomes insightful, as Ibsen either extends or reverses elements of the previous drama. For teachers of drama there might not be a better quartet of plays to study to show the growth of a major dramatist.

If a great dramatist did not challenge the binding social restrictions back in late 19th century, it would probably have taken longer for us to break the chains of convention. Ibsen contributed to the liberation of society and its rules using dramatic pieces like Ghosts. I don't want to give out the plot, but basically it's about a catastrophe created when the characters adhered to outdated social norms instead of following their hearts. The play is written after the classical Greek style of tragedy, so there's a strong taste of Sophecles in Ghosts. The play begins less than 24 hours before its end, and Ibsen's greatness is clearly shown by his ability to pack so much plot and message in so few words. When read today, the figures in Ghosts may seem ridiculous, for they strictly follow outdated rules that we all belittle today. But had not Ibsen had the courage to attack them, we might still be living under those rules now. Definitely a great piece.

This is a review of Star Wars - Boba Fett - Enemy of the Empire TPB, a collection of 4 issues ½ of a wizard magazine comic - Salvage published Oct 1999 as ISBN 156971407x, Printed in Canada.

This is one of the finest comic Dark horse has ever produced. It is beautifully produced with above average artwork, excellent inking and superior binding. I have sat and read through this comic many times and it has never fallen apart in my hands. The story is action packed, featuring a duel between Vader and Fett. Ken kellys cover art is a 5, the story is a 4, the inking is a 4. The artwork is generally a 2 and a 3 often resembling the comic strip style rather than the rich art we now see in later comics. There were 3 different illustrators with unequal results. But for 1999 this was awesome.

While working one's way through the arts of bartering for souls, a person has to be careful who they choose to align themselves with. This holds true for anyone wanting to make their way out of a deal alive, from the lowliest of traders to the mightiest of bounty hunters. In Enemy of the Empire, Boba Fett learns just that, finding out that perhaps Darth Vader isn't an individual to be bartered with and that something worthy of his attention has to be profitable as well as dangerous in order for him to thrive. He is sent to find a certain someone that has an item in their possession, one that can tell the future in ways that some species would find disturbing, and that can even bring a player like Vader himself hunting for your head.

The storyline that is presented in this TPB is really a good one, brimming with some odd species, a bit of intrigue, and the art of bounty hunting that makes people seek out Boba Fett. It touches on a little of the methods on how to track someone, how your armor can sometimes get an array of ugly reminders of why you should or shouldn't be wary of dealing with anyone, what to do if you are attacked by one of the most dangerous forces in the universe, and how truly messed up some people's abilities can be. The problem in the book is that its art doesn't hold a candle to the interesting worlds involved in the storyline and that, despite the attempts to seem somewhat humorous at times, it fails to evoke laughter from myself. Instead, it seems to take away from some of the faces involved, especially when you are dealing with Vader and his boss, not to mention the rank and file that happen to make up the universe's shady characters. It took me a long time to get past this little portion of the book and, were it not for the fact that Fett was involved, I would have perhaps skipped past it completely.

This isn't to say that the read is worthy, because it is. You simply have to be ready for something of a disappoint in the art department - which I was a little prepared for but not to the extent that it laid out here. Also included in this is "Boba Fett's Salvage (or Boba Fett 1/2), which isn't that bad of a story and that is not the most fun piece to find by itself, making it a better by and something that friends of the hunting class might want to look into. Just remember to bring an open mind to the table because, well, mixed results sometimes anger the viewing mind.

The world of 'Star Wars' comics has been able to achieve heights of drama in expeceptional works such as 'In the Empire's Service', 'Outlander', and 'Mandatory Retirement.' This is not anywhere near that list. Then again, its not supposed to be.
It's for entertainment value, plain and simple. The art and writing are somewhat silly while still having an elemnt of drama and reality to them. John Nadeau of the XWRS fame has a very different art style here, one far less dramatic and far more silly.
Then end is good, especially regarding the fight between Fett and Vader and the fate of the Pessimists. (I love irony.) Overall, while its by no means the best SW comics out there, its a fun, quick read and reccomended as such.