Editorial Reviews for Nominees
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 Score: 88/100 (8.8 out of 10)
What happens when cutting-edge military technology goes rogue? How would America respond to a full-blown cyberattack? Can the fate of national security be entrusted to a embittered, disillusioned middle-aged U.S. veteran whose marriage and domestic life are collapsing all around him? 2024 Attack on America by Sasha Zarustin follows Gabriel Brinkerhoff, a man who proudly enlisted in the U.S. military following the 9/11 terrorist attacks for the explicit purpose of defending the nation he loved. His patriotism, commitment, devotion, and love of country are attributes that we respect and admire. Unfortunately, they are challenged by deeper, darker secrets that he gradually uncovers including his friend's involvement in the CIA's enhanced interrogation program, which includes the torture of suspected and alleged terrorists. Through this book, the author seems to want to shed light on the duality of human nature and the potential for human beings (including their governments, militaries, and intelligence agencies) to do both good and evil. In fact, the two American flags at the top of the cover are shown in darkness and light, reaffirming that. Just as America is shown in the book to have a disturbing dual nature (both protecting the world from terrorism and evildoers while brutally addressing them through violence), so too do Gabriel, Mary, and Dexter harbor deep, dark secrets of their own. Like America, they hide and suppress these things to save face and maintain some sense of harmony and stability. Evil is all around. Who can you truly trust? Who is truly right or truly wrong? The world is full of gray. So, while understand all of that and appreciate aspects of this book, we're also having a bit of difficulty reviewing it. The reason for that is simply because it's not what one would typically expect from any of the genres implied by the book's title, description, or cover design. Where do we even begin with that? The title, description, and cover design would all imply that this is a thriller of some sort (perhaps a cyber/military/espionage/political thriller). To a certain extent, it is (on all counts). However, to what extent? How much is this a political thriller? How much is this a cyber thriller? You can't put 25 grams of sugar in a Diet Coke and still call it a "Diet Coke." You can't make a peanut butter & jelly sandwich, put "BLT" on the sandwich bag and say that makes it a "BLT sandwich." There are expectations for what a person buys/orders. How does this book start off with such an intense opening (reminding us of the peak of the Cuban missile crisis or an attack by Skynet from Terminator) only to become so muddled and meandering? The problem is that it goes too far off the rails, becoming distracted with more frivolous things, particularly Gabriel's personal domestic problems and sexual escapades. It loses focus and, as a consequence, could risk losing its grip on the target audience. The target audience came here for bombs, missiles, explosions, guns, tanks, drones, espionage and counter-espionage, cool gadgets like the ones you'd see in Bond films, hackers and counter-hackers, etc. They came here for discussions of international tensions and a mad scramble for technological superiority in regard to things like A.I. Yes, some of that may be in this book, but it's pushed so far into the backdrop that it's easy to forget that it's even relevant to the plot. The target audience probably didn't come here to read about a guy and his relationship problems, his kinks, and his “Vitamin V” (Viagra) dependence. They probably didn't come here to read about a guy carrying a cancerous, toxic friend with him for 20+ years, being progressively corrupted by him through gambling, drinking, and hooking up with prostitutes. By the way, Dexter is a lot like Gavin/Frederick Chance from Interview with Death by V.K. Pasanen. They're almost the same character (or archetype). All of that just seems so unnecessary, superfluous, and distracting. We kept wondering: Can we please get back to the plot? Can we please get to intercepting these drones? Stopping the cyberattacks? Solving the actual problem that's affecting millions of Americans? Let's get to the action! Let's get to a guy desperately running to save the White House (as portrayed on the cover). Let's get to this super-smart, super-techy guy getting on his rigged-up quantum supercomputer to break the new enigma code and prevent the world from going nuclear. Let's get to these missiles raining down from the sky and a countdown timer giving us an idea of how much time we have to break the code before extinction. In reading this book, it just always seemed like the author was sandbagging, dragging their feet, and couldn't decide on what genre they wanted to write in or what they actually wanted to focus on. You can definitely have a romantic (or even erotic) side-plot in a sci-fi or thriller novel. Alexandru Czimbor did it in the last contest with Sentience Hazard, a book that featured a very disturbed scientist who created an A.I. and android in the likeness of the woman who broke his heart with the aim of showing her up. That book won the whole contest! Why? Because the characters were excellent and it perfectly balanced that intimate content with a very interesting, well-developed conflict involving a cyber arms race between the U.S. and China. Sentience Hazard and 2024 Attack on America have A LOT in common. The issue we had with 2024 Attack on America was that it was overly fixated on Gabriel's personal problems. These problems ceased being interesting and started to detract from the flow and pacing of the story, making it seem sluggish, fluffy, and bogged down. Imagine playing something like Tom Clancy's Rainbow Six: Vegas... you've got your light machine-gun, grenades, and ballistic armor ready. You're chomping at the bit to go shoot/blow up some terrorists and stop these thugs from detonating a WMD in the heart of Sin City, but then your main character begins an hours-long series of side-quests to learn how prostitution works, then you sit through cut-scene after cut-scene of the main character sleeping with his wife (or trying to) and then some hookers. You might start to wonder: did I purchase an M-rated action-thriller game or a sex game from an X-rated site? They're not the same thing. And they usually don't mix well. And then you get flashbacks. Cut-scene after cut-scene of flashbacks to how royally your character's best friend, Dexter, tried to screw him up in the past. And then you realize that your character's best friend, Dexter, is a sadistic torturer for the CIA after cheating his way there. Ok... but what about stopping the cyberattacks? What about saving America? What about stopping these terrorists? What about getting to the bottom of who's behind them? What about Demiurge/Agent D? You know, the A.I./quantum supercomputer from the subtitle? Yes, it's in here, but we had to wait 'til like 220+ pages in for this thing to show up when it's literally the namesake of the book. These things should be at the forefront of our minds, not in the back. Yes, you could argue that Demiurge's “stress-test” form a frame around the core story like Robert Walton in Frankenstein, but the audience isn't aware of that for most of the book and will likely become more distracted and entangled with the character's frivolous personal issues (as described earlier). So much of this book is about Mary and Dexter, and we really wish it wasn't. Why introduce us to all of these military people in the beginning then not mention them for most of the book? We're told their names, ranks, and titles, yet they don't seem relevant at all. Colonel Bennett, General Anderson, Lieutenant Michael Johnson, Commander Akira Sato, and Sergeant Ray Kim aren't even in the rest of the book from what we remember, so why introduce them and name them all as if they would be? For comparison's sake, Gabriel's old Latina crush, Sophia, gets more character development and page time than any of the aforementioned military characters combined. Even Paula and Molly get discussed more than any of those military officers. Why not introduce us to Mary and/or Dexter in a dramatic way since over half of this book seems to be about them? And why is more than half this book about these two side characters? Shouldn't it be about the cyberterrorists and the cyberterrorism? Cybercrimes? The super-dangerous super A.I.? Preventing a national cyber catastrophe? You know... the cyber-thriller-stuff most people would have purchased the book to read about? The closest we get to the cyber-stuff being tied into Gabriel's personal issues is when he uses the cyber-stuff to discover his wife's dark secret. And you could maybe argue that Demiurge is able to play on Gabriel's insecurities and his own guilt over misusing technology for his own gain (spying on Mary). Other than that, they seem like two completely separate, unrelated, disconnected plots that probably belong in two completely separate books in two completely separate genres. In other words, this reads like two completely different novels that somehow got written together. Yes, there's cognitive dissonance, then there's something like this that goes beyond defying expectations and starts to feel like your expectations are being outright betrayed. Imagine being promised that Rocky would fight Ivan Drago by the end of Rocky IV, then a grand majority of it is dedicated to Rocky sleeping around and having relationship issues with Adrian, then the movie concludes with a press conference in which Rocky decides to put off the fight 'til he handles his divorce and can get partial custody of Rocky Junior. That's kinda how it felt. We have a guess as to the root of the issues: it's sequel syndrome. The author seemed to have been building to or planning to release a series of sequels, probably a lot of them. So, the author may have used this first book as an opportunity to very slowly, methodically, and painstakingly develop the main characters en route to building to an eventual conflict which would be explored in later books. Whether that's true or not is up in the air, but it certainly feels that way. But think about this: in Star Wars, Luke Skywalker blew up the Death Star in the first movie. We knew the Empire was evil. We knew about Darth Vader. In the first Terminator, Sarah Connor crushed the T-800 in a hydraulic press. We knew that Skynet was evil. We knew that there could be more of these Terminators that could threaten the characters someday. We knew that humanity was in dire straights. Compare that to the long, agonizing setup and conclusion in this book. It just doesn't hit nearly the same. It doesn't seem triumphant, surprising, or satisfying at all. Gabriel didn't blow up the Death Star or crush a Terminator. He basically just decided to get off his @$$ and do the thing he should've been doing the whole book. It shouldn't take 400+ pages for a protagonist to commit to doing the common sense thing—the only thing that would logically make sense for his character considering that the survival of himself, his family, and his country depend on it. We don't need people sitting around a table debating what to do next so late in the book. Even when National Security is clearly on the line, Gabriel is casually listening to the radio thinking about his issues with Mary as a special song plays. Yes, we get that the A.I. is helping Gabriel to manipulate his wife, but how does that make Gabriel look any better as a character so late in his character arc? Did he go through that whole arc just to not arc--not change at all? And what about the actual military threat posed by the A.I.--the reason we all tuned in? Attaway to kill the tension of the world-altering implications of the over-arching A.I. plot. This is supposed to be a thriller. Thrillers are supposed to be exciting. There’s supposed to be action. Guns. Explosions. Espionage and counter-espionage. Terror and counter-terror. However, those things were far and inbetween, if not absent entirely. This reads more like an erotic family drama of some sort than a thriller or action novel. We need action. We need people running, sprinting, desperately trying to prevent disaster and to save lives. We need heroes sweating, battered, beaten, bloodied, scratched, and bruised by the end of this. Think about Bruce Willis walking through glass in Die Hard. Heck, think about Tanto from You Will Know Vengeance by W.A. Pepper, who was also a super-smart, talented, morally-dubious hacker/coder guy like Gabriel. By the end of the book, Tanto was beaten to within an inch of his life. His limbs were broken and he could barely walk or run as he was being pursued by authorities, an evil secret organization, and the criminals he screwed over in prison. By comparison, Gabriel's arc seems oddly... relaxed. He's not the guy flying those jets trying to intercept those drones. He's just the guy letting the people in power know that sh** is hitting the fan when they should already know that sh**t is hitting the fan. Thank you, Captain Obvious. You're promoted now. Welcome to the White House. Gabriel's main issue is really resolving his failing relationships with his wife and son, an arc we've seen in fiction numerous times before to the point at which it has become cliche. We just read the same character arc in Tough Road Home by Marie Watts and What Lies Buried by Leslie Kain—a husband who drove his wife and kid away now has to regain their love and trust while coming to terms with his choices. It always seems like the plot is biding its time, sandbagging, and holding back on us. It can't just GO. But let's spin this in the most positive light we can muster: Put your expectations aside. 2024 Attack on America is an ambitious, multifaceted, variety novel that, like Sentience Hazard by Alexandru Czimbor, follows a morally gray yet ultimately well-meaning intellectual who is compelled to do the right thing in the midst of a bigger conflict. Gabriel uses his intelligence, experience, and unique gift to get to the bottom of a series of cyberattacks that are increasing in frequency and severity. Along the way, he battles his fierce inner-demons and personal struggles. This is a book that explores the dual-natures of both human beings and their nations—the ability to do both profound good and great evil. This is a book that explores the concept of enemies on the outside and within. Check it out on Amazon!
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 Score: 86/100 (8.6 out of 10)
Magda Revealed is an ambitious historical speculative fiction novel by Ursula Werner. It reimagines the events of the biblical gospels and their aftermath with a heavy New Age, feminist leaning, challenging the biblical accounts of events in favor of alternative accounts like those found in the Coptic, apocryphal, non-canonical, and Gnostic gospels. More specifically, it draws heavy inspiration from the Gospel of Mary Magdalene, a fragmentary text presenting Mary Magdalene as a prominent disciple of Jesus, with secret teachings revealed to her. Despite us having a mostly negative experience reading this book, Magda Revealed does have a few redeeming aspects. It's daring. It tries a few different angles to the story of Jesus and his followers. Furthermore, it creates quite a bit of intrigue and mystery, particularly treating the death of Jesus like a detective mystery exploring who was more or less responsible for it. So, villainous or antagonistic characters like Judas, Herod Antipas, and Pilate get a bit more attention and fleshing-out than they had in The Bible. Magda Revealed seeks to give us a different perspective on characters like Peter, Paul, Mary Magdalene, and even Jesus, often in a way that seems sharply contrarian in nature. Peter and Paul are actually treated like antagonistic or even villainous forces in the book, fueled by old-fashioned ideals of patriarchy (and being portrayed as misogynists). Meanwhile, Mary Magdalene is portrayed as misunderstood. She is mislabeled by the Christian patriarchs (primarily Peter and Paul) as a “prostitute” when she was actually (according to this book) a healer (or, perhaps, some sort of massage therapist with a pseudo-magical healing touch similar to Celesse's from The Healer Cat by Tuula Pere). On the surface, it sounds like a fascinating concept. However, what about the execution? Quite frankly, we found this book to be painfully offensive, especially with the huge reveal/conclusion made at the ending of this book. There was little to no justification for that. It was out of left field. It really made no sense. We've dipped our feet in gematria (Hebrew numerology). We're pretty darn familiar with Kabbalah (Jewish mysticism). We know the biblical scriptures and quite a bit about the Coptic & Gnostic gospels. All of that just doesn't add up to what this book concludes about Mary Magdalene in the end. There is no factual basis for the profound conclusion this book comes to. In fact, there is a lot more evidence against the main premises and arguments in this book than for them. To be blunt, this is not a novel we particularly enjoyed. That does not mean that you won't enjoy it. That does not mean that other readers won't enjoy it—maybe secular readers and those who just want a decent feminist or New Age story without thinking too deeply about it. However, as readers from Abrahamic religious backgrounds who love the source material and have studied the alternative gospels, gematria, and Kabbalah, this was pretty painful. We even asked our office atheist about what they thought about the conclusion in the end, and even they found it offensive. Think about that: even someone who is decidedly non-religious found the ending to be sacrilegious. However, religious and spiritual sensibilities isn't the only way in which this book suffers. There's a really strange tonal and immersion problem, particularly in the way that Magda/Mary Magdalene talks and reveals information to the audience as if she's a 21st century hipster in a Hallmark movie, not a believable historical figure or someone other than the author. In other words, in an effort to give Mary Magdalene a voice, the author ironically may have used her as a mouthpiece, overwriting whatever voice the person or character may have had. This ultimately comes across as disingenuous. It's hard to buy into a character who seems to just be an intercom at a drive-thru. Get this... Magda describes Yeshua's (Jesus') display of light as resembling “midnight fireworks at Disneyworld.” Disney World opened in the 1970s. Mary Magdalene lived in the 1st century AD. So, how does she magically know what Disney World is? When discussing Yeshua’s ministry, Magda compares it to "modern televangelists" and jokes about their envy over Yeshua’s door-to-door evangelism methods, almost as if she's aware of what Jehovah's Witnesses and Mormons will be doing 2,000 years later. She compares the walking habits of her time to modern fitness trends, mentioning plastic bracelets tracking steps and jokes about painting toenails with names like "cha-ching cherry." She discusses being labeled a prostitute by Pope Gregory I (who lived hundreds of years after she did) in a tone filled with modern feminist outrage, referring to him as "not the brightest bulb" and critiquing the patriarchal consolidation of female figures into stereotypes. Wait a minute, how does she know what a light bulb is? They were invented like 1,800+ years later. She even jokes about the lack of "social media or billboards" to advertise Jesus' events. She also talks about films like she's seen a bunch of them. Lady, you're from the 1st century AD, when did you find a TV or a movie projector? Was Pilate hiding them in his back room next to his cassette player and credit cards? Like, read her talking about Wonder Woman: “I felt empowered and magical, like your comic heroine Wonder Woman, the Amazon lady who summons lightning bolts of energy by knocking her golden bracelets against each other.” Does this sound like Mary Magdalene or anyone who lived 2,000 years ago? These anachronism—if you want to call them that—are seemingly supposed to make Magda seem cool, hip, in-the-know, and relatable. They're supposed to make the characters and story seem more modern. It's supposed to be entertaining, like those cutaways in The Office or Deadpool breaking the fourth wall and telling us, “You must be wondering how I got in this situation...” Instead, these anachronisms just completely ruin the immersion, in our opinion. Imagine reading a book about Julius Caesar and he starts telling you about thermonuclear weapons, drones, iPhones, and Amazon. Wouldn't that just seem weird and out of place? The only way in which this would work is if Mary Magdalene were immortal and omniscient. Sorry, we hate to break it to you, but she's not. She's dead and awaiting the resurrection just like everyone not named Jesus, Enoch , and possibly Elijah. Mary Magdalene is not a vampire. She's not God. She's not the Messiah either. If she were, she would have fulfilled the Isaiah 53 prophecy: “...he was pierced for our transgressions, he was crushed for our iniquities; the punishment that brought us peace was on him, and by his wounds we are healed.” She also: - Was born in Magdala and not in Bethlehem, King David's town, as the prophecy of the Messiah requires. We see no evidence in the book that she's descended from David or his line. - She didn't die, defeat death, and rise from the dead - She didn't start a universal faith (the largest religion in the world) And, you could argue: “The Gospel of John appears to have been altered by a scribe” or “The Gospel of Mary Magdalene exists.” Well—putting aside the fact that The Gospel of Mary Magdalene is 100% not a first-hand account of events as it was written well over a hundred years after the described events by a different individual (and the surviving fragments we have are from 3rd century Coptic manuscripts, not originals)—where in The Gospel of Mary Magdalene or even the allegedly-altered Gospel of John does it say that Mary Magdalene is the Messiah? Where? Even in the parts that are alleged to have been altered, what support is there for that claim? There are none. There is no precedence to support that claim. Unfortunately, this doesn't seem to be a book crafted with a genuine love for a religion that means a lot to billions of people around the globe. It reads more like an attempt to use the source material to further a personal bias and agenda, which we found troubling. The narrative often reads as a projection of the author’s views rather than an authentic reinterpretation of historical facts or religious traditions. This really weakens the credibility of the arguments in this book. Here are some of the passages in the book that feel like the author using these sacred characters/historical figures as mouthpieces for their own agenda and message: - Jesus advocating for “many paths to truths”: “Yeshua would never have excluded anyone who wanted to follow Him. Nor would he have insisted that there was only one way to believe. He knew... there were many paths to the truth.” This directly conflicts with John 14:6- "I am the way, and the truth, and the life. No one comes to the Father except through me." - Jesus advocating "radical equality": “Everyone on Earth is equal. No one is better or worse than anyone else.” While Jesus' teachings emphasized love and humility, the idea of "radical equality" as described in this book leans heavily on modern egalitarian concepts rather than first-century Jewish or Christian teachings. Jesus literally said that “it is the one who is least among you all who is the greatest” (Luke 9:48). - Reference to environmental issues: “Yeshua says the truth will make a difference. This is our last chance... pointing to your greenhouse gases and melting glaciers.” This is anachronistic, projecting modern environmental concerns onto a first-century figure. Doesn't that quote just make you cringe? Like, can you imagine Mary Magdalene or Jesus actually talking about climate change or global warming? Like, seriously. We had to read that twice. Then, we needed to wash our faces and read that again. There are even lines claiming that Jesus doesn't understand or know what is happening around him or about prophecy. There's even a line that goes something like: “Just because I'm dead doesn't mean I can see the future” (attributed to Yeshua/Jesus). Wait a minute... so you're implying that Jesus, a Jewish man raised as a Jew in a rigidly Jewish society, wouldn't know about any of the future predictions made in Old Testament works like the Book of Daniel? Seriously. We're supposed to believe that? But Mary Magdalene can know all about light bulbs, Wonder Woman, Disney, and climate change. Of course. You can definitely incorporate aspects of a religion into your work in a way that still shows respect and regard for it. C.S. Lewis did it with Christian references in The Lion, the Witch, and the Wardrobe. Jeffrey Pears did it with The Adamantine Jewel, which drew heavily on Tibetan Buddhism. There's a difference between using religious beliefs and traditions in a tactful manner, then completely warping them to fit a personal agenda or message. This book seems to be the latter. And it just seems so forced, heavy-handed, and didactic. It doesn't fit. It doesn't seem to respect the source material—material that means so much to billions of people around the globe. And that's not even talking about the edgy, romantic aspect of this novel between Jesus and Mary Magdalene, which is sure to upset a large portion of the audience. However, strangely enough, this really got overshadowed by the other things that upset and offended us, which is why we're mentioning it last. A shipping of Jesus and Mary Magdalene really isn't that groundbreaking of an idea. It was already a plot feature in The Da Vinci Code, Jesus Christ Superstar, and The Last Temptation of Christ, all very well-known works of fiction. All of that is based on speculation and evidence that has since been debunked or outright exposed as a hoax. Let's cut to the chase: The main argument for a Jesus-Mary Magdalene pairing comes from a Coptic gospel that has been called “The Gospel of Jesus' Wife.” It is a fragmentary text written in Coptic that includes the phrase: “Jesus said to them, 'My wife...'” This was touted as evidence of Jesus having a wife, possibly Mary Magdalene. It was brought to the public's attention in 2012 via a Harvard professor named Karen King, having learned of the fragment via a then-anonymous artifacts collector who was later discovered to be Walter Fritz, a fraudster. In 2016, scholars determined that the text was a modern forgery. The “collector” who provided the fragment, Fritz, was discovered to have fabricated credentials (including a fake Master's in Egyptology degree) and had links to other questionable artifacts. He also purchased the domain name “GospelofJesusWife.com” suggesting premeditation to market the artifact. Radiocarbon dating was performed on the fragment, finding the papyrus to possibly date to the 7th to 8th century AD (seven or more centuries after the life of Jesus & Mary Magdalene), but the ink was strongly believed by the experts who analyzed it to have been added much more recently. Even Karen King, the Harvard professor who initially promoted the text, acknowledged it was no longer credible. So, the evidence against this premise is overwhelming. Anyway, so what about this book just being a work of fiction and being read as such? Well, beside the immersion issues we talked about earlier, this book does have some redeeming qualities. Like we alluded to, the murder-mystery aspect of this book is intriguing. Magda herself is, at least, a kind, caring, loving, and devoted character. Something particularly intriguing is how the motivations of the antagonists are explored, especially Judas, Pilate, and Herod Antipas. In fact, one of our favorite scenes in this book is when Judas is clearly trying to tempt fate by getting Jesus persecuted and killed. He wants to see Jesus perform a great miracle in the sight of the Roman overlords. The look and feeling of shock that Magda feels in that moment is palpable, and we could feel it through the page. The writing is also pretty good, aside from the anachronisms. We get a great yet somewhat ironic quote: “Those who are dishonest in little are dishonest in much.” Considering what we said about Walter Fritz, that speaks volumes. We also get uses of alliteration like: “We laughed together, a sound that carried us over the sea of seriousness that so often surrounded us.” This book had a lot of potential. It would probably have scored higher if the ending/conclusion weren't what it was and if the anachronisms were removed or fixed to be more immersive. This has been one of the most difficult reviews we've ever had to write. You can check it out on Amazon if you're curious!  Score: 94+/100 (9.4+ out of 10)
Diary of a Service Beast: Casket and Crypt's Not So Beastly Adventure is a unique and imaginative children's book with a Gothic, mythological tinge by McKenzie Catron! This book is a fantastical rendition and reimagining of the author's other children's book, Diary of a Service Dog, which we also had the pleasure of reviewing. In fact, the two books are almost identical clones or mirror-images of each other in terms of their writing, general premise, and formula. However, the difference is that Diary of a Service Beast reimagines the characters, the relationship between them, and the important role of service animals within the guise or skin of fantasy and mythological characters/elements. That's quite a wild and unique combination! It's a conversion from realism to fantasy! McKenzie (the author) is represented by the character named Casket. Meanwhile, Grimm (McKenzie's service dog) is represented by the two-headed dog character named Crypt. This book really has a special charm, especially if you're into more dark, Gothic, somewhat-macabre imagery and content like Tim Burton's The Nightmare Before Christmas. No, there's no gore or violence, which is great (especially considering this is a book for kids). We'd like to pay special attention to the character of Crypt. Crypt is a “service beast”--a two-headed dog akin to Orthrus from Greek mythology. As a side note, did you know that Cerberus had a two-headed brother named Orthrus? Yeah, neither did we! And we pride ourselves on knowing a lot about mythology. Despite being beastly and having the fearsome appearance of a two-headed Dobermann (think Mr. Burns's attack dogs from The Simpsons) compounded by red eyes, Crypt has a special kind of cuteness and adorableness. We'd compare that cuteness to being sorta like a British bulldog or a pug. They may not look like the archetypal dog, but they're beautiful and lovely in their own way. The illustrations (by Anna Dmyterchuck) do a fabulous job at portraying Crypt's cuteness in unique ways. On the inside cover and during the party scene, he is portrayed as wearing white bowties on both of his necks, a great contrast to his grim and dark appearance. During the bedtime scene, he is shown rolling on his back with one of his tongues out, inviting tummy rubs like a household pup or kitten. During the healing scene, Crypt is shown giving nose kisses and cuddling up to Casket to comfort her. You can see the contentedness and softness of Crypt through the expression of his eyes. Speaking of eyes, Crypt's heads—similar to King Ghidorah's heads—seem to have their own unique personalities, differentiated mainly by their eyes. Crypt's right-head is slightly more stout, kinda like a shorter sibling. The right-head has a distinct scar over his right-eye, which appears to be wounded. So, we get the impression that Crypt has been through a lot, a seasoned veteran of being a service beast. Perhaps he fought off a cyclops or a hydra or something. Casket is also a bit of a unique character. She kinda reminded us of Elsa Janeway from The Devil's Conquest by KM Taylor. She is a multifaceted character who seems to transform, a little bit like a shapeshifter. There are times when she is a mermaid. There's a time when she looks like royalty or even a goddess. And there are times when she looks like a normal fantasy female prepared to go on an adventure. Check it out on Amazon!  Score: 95/100 (9.5 out of 10)
Diary of a Service Dog is a truly exceptional and outstanding children's book by McKenzie Catron! The book shines a light on the duty, necessity, and joy that surrounds the work of service dogs and other service animals. Grimm is the loyal, intelligent, and adorable service dog of McKenzie Catron, a wheelchair-bound author. Grimm is always there for McKenzie. He accompanies her when she bathes to make sure she is safe from slipping, falling, or drowning (“guard[ing] her like a shield”). He helps to give McKenzie confidence in new environments and situations like at social gatherings (“...my girl can be a bit shy... I helped her feel brave by holding my head high”). It should also be noted that both McKenzie (being in a wheelchair) and Grimm (being on all-fours), can sometimes find it difficult to see above a crowd or to stand out in one. Grimm effectively helps to guide McKenzie through that to make sure that she has a path and that she doesn't run into someone or vice-versa. Grimm also keeps McKenzie company while she is writing, McKenzie's passion and job. Sometimes, it helps just to have company—just to have a friend—who can keep you both accountable and from feeling lonely. Being alone, especially while living with a disability, can be an incredibly terrifying experience. That was something highlighted in Freeing Teresa by Franke James, which constantly talked about how important it was for the author's sister (who suffered from Down syndrome) and father (who suffered from Alzheimer's) to not be left alone. That book emphasized how important it was for the sister and father to have each other as well as the support of the family. Likewise, Diary of a Service Dog highlights how important it is for people like McKenzie to have company, like Grimm (in this case). Human beings are social animals, and so are dogs! Having a friend and loyal companion has so many benefits! It's invaluable! Service dogs help to provide company, safety, and security. However, perhaps most importantly, they provide comfort. In perhaps the sweetest scene of the book, Grimm is there for McKenzie comfort her in the hospital when she is being checked up on or isn't feeling too good. Anyone who goes to the hospital with an injury or an illness knows how uncomfortable and even scary that experience can be. This book does a great job at demonstrating how service animals like Grimm can greatly alleviate that discomfort, fear, and anxiety. Grimm is also there to provide “good cuddles” and nose kisses to help McKenzie sleep. If you suffer from insomnia or sleep paralysis, as many of us do, just having the company of a companion like Grimm can make all the difference! Another panel in this book that we grew to appreciate more and more is the one that explores grocery shopping. Often times, wheelchairs are powered and guided with the hands, either manually (propelling the wheels with the hands) and/or with a joystick. However, that can be complicated while grocery shopping, especially if you're holding the groceries (as McKenzie is shown doing in the illustration). Grimm is actually explained as pulling the wheelchair down the aisle similar to a Clydesdale, which is cute, amusing, and also practical. The illustration also shows how this is done, portraying a handle or reign on Grimm's harness that the user is able to hold onto. If you just skim the book, you'll miss it. But it's a really subtle detail that we appreciated about the book. We also appreciated that the illustrations transition from being darker in the beginning to being brighter and more vibrant and colorful, which we often encourage in children's books. The book is a terrific celebration of the work of service dogs and also of the inspirational life of the author herself. It demonstrates that anyone can live a full and accomplished life no matter their disability or circumstances, and it definitely helps to have a helpful, loving friend like Grimm! Check it out on Amazon!  Score: 93/100 (9.3 out of 10)
Maxzyne Goes Aquamarine is a fun, adventure-filled middle-grade fantasy novel by Caroline Lee! The book follows sixth-grader Maxzyne Merriweather, one of those people who “doesn't work well with others” and tends to excel in group projects on her own, preferring to let her creativity and outside-the-box thinking do the talking. As fate would have it, she is assigned to Oliver Martin, the book's know-it-all deuteragonist, a nerdy and overbearing CPR partner. Anyone who has had annoying, uncooperative, or useless group project partners can probably relate to both leads. In a quest to fulfill a small, little CPR certification, the two stumble into a much bigger, multifaceted crisis that requires them to work together and accept a little bit of the magical, supernatural, mythical, and fantastical! They soon meet mermaid-like creatures (the freshwater variety being referred to as “Naiaids”), including their queen, Glenys, and her sister, Mira, who reveal that the ecosystems of Liliana Springs & Liliana Lagoon on in peril from multiple sides! There are actually two major conflicts that keep this book exciting, dramatic, and interesting. On one hand, there is an evil crone—a sea hag—named Sereia who is usurping control of the Liliana waters to be crowned the “Queen of the Aquamarine.” Sereia is arguably the star of the book. She is a charismatic, somewhat-goofy, somewhat-hokey, somewhat-cheesy, yet somehow-still-threatening lead villain. Think of her like Yzma from The Emperor's New Groove or Queen Malagant from A Tale of Witches and Wyverns by S. Ramsey. There are times when she's menacing (like ordering zombie crabs and snapping turtles to attack the other characters), and there are actually times when she's a bit sympathetic and relatable. Case in point: her motivation for everything she's doing is actually because she's desperate to stay young and beautiful, having been exceptionally gorgeous in her youth. She clings to this like a lot of us would and actually weeps tears that form anemones, which is a nice touch. It helps to have a well-rounded villain like this. One of the interesting discussion questions posed at the back of the book is why Sereia calls out the protagonists for speaking disrespectfully to her while being disrespectful herself. The question is raised (to paraphrase): Who is worthy of respect? Are there exceptions? It made us think of the line from Game of Thrones by Tywin Lannister to Joeffrey: “Any man who must say 'I am the king' is no true king.” Furthermore, respect begets respect. We tend to follow and respect people who lead by example: people who keep their word, value us, and want the best for us (i.e. most parents and grandparents). We ultimately push back against tyrants and self-serving individuals (people like Sereia). She seems to want to be Queen for her own sake, not to make the lagoon any better. Anyway, this book also has a strong environmentalist message, particularly addressing the problems presented by plastic pollution and by corporate greed leading to exploitation and depletion of natural resources. In this sense (along with its aquatic setting), this book is a lot like Eye of the Turtle by Gloria Barnett, though much more lighthearted and—arguably—fun. Another villain in this book is the Westbrook Bottling Company, which wants to exploit the springs for its freshwater while also adding to the environment's mounting plastic pollution problem. There is literally a Waterbottle Mountain in this book, which serves as the setting for one of its best action scenes. We do kinda wish that the two conflicts could've collided or been conflated better. Like, maybe Sereia could've used her power and influence to resist or compete against the Westbrook Bottling Company, which is—in all honesty—a threat to her goals (and vice-versa). We were really close to seeing a clash between magic and technology, which also would've been cool. Maxzyne is a fun main protagonist, especially with how snarky she can be. She playfully teases Oliver throughout the book, though gradually seems to gain respect and appreciation for him. Oliver is also a good character in that his structured intelligence and book smarts come in handy. There's a nice contrast between Maxzyne's street smarts and Oliver's book smarts. Perhaps Oliver's best moment is when he figures out that Lidocaine can be used to make helping another character more manageable. Twain is also a cool character—maybe a nominee for “Coolest Character.” Twain is a fire-salamander who is being extorted by Sereia, but ultimately means well. Twain kinda reminded us of Thetrasat, the snake man, from Codex Sohrakia by K.M. Taylor. They actually talk similarly, with a unique hiss. This is a fun middle-grade action-adventure novel. Check it out on Amazon!  Score: 90+/100 (9.0+ out of 10)
Video Podcasting Made Easy by Ross Brand and Kevin Kolbe serves as a comprehensive guide and spirited discussion for individuals looking to venture into or enhance their skills in video podcasting. It targets beginners and experienced content creators, offering practical advice on gear selection, setup, hosting, and promotion. The authors leverage their extensive experience in video production and podcasting to demystify the process, emphasizing accessibility and practicality. Ross Brand is already a multi-time Outstanding Creator Awards winner for two of his massive collaborative projects: 100 Livestreaming & Digital Media Predictions volumes I & IV! Similar to those two books, Video Podcasting Made Easy was uniquely constructed via audio-video interview(s)! That's right! This book is as much a discussion or a conversation as it is a guide. In this book, Brand is joined by video podcaster Kevin Kolbe, whose experience in the media includes working for TV stations affiliated with FOX, NBC, CBS, ABC, and CW. With all that said, one of the many interesting things he shares is that his interest in media started with radio. Why is this so special to us? Well, that's a sentiment that a lot of our recent authors have shared. Radio paved the way for everything else: TV, the Internet, streaming, digital media, and social media! Judge Anthony Mohr, an Ultimate Champion in our 2024 Creator Classic, shared how his biological father, Gerald Mohr, was one of the pioneers of radio acting, bringing Westerns and other radio shows to life with just the power of his voice. Gunsmoke: An American Institution by Ben Costello taught us that Gunsmoke--the longest-running TV Western and one of the greatest American TV shows of all time—started off as a simple radio broadcast show! And, though radio has lost some of its luster,p eople still rely on radio stations for information and to keep up with sporting events (among other things). So, radio has served as a gateway for many great people and many great things to find their footing in the media and the world. With that said, Brand and Kolbe are quick to tell us that media has evolved remarkably in just the last decade. Streaming platforms like YouTube and Twitch, along with podcasting and music platforms like Spotify, have come to dominate the niche. Not to get overly political, but just look at this recent presidential election. One Joe Rogan video podcast arguably outperformed promotions and news by almost the entire legacy media. So, podcasting—particularly video podcasting—has immensely grown in its influence and potential. And guess what? Its influence and potential is growing by the day! Why not learn about it and stay informed? Aimed at both beginners and experienced creators, Video Podcasting Made Easy, provides actionable advice on essential aspects like gear selection, setup, hosting, and promotion. Drawing from their extensive expertise in video production and podcasting, the authors simplify the process, making it approachable for everyone. The book’s structure leads readers step-by-step, starting with foundational topics such as deciding between audio and video podcasting and progressing to advanced techniques like setting up a studio and recording on the go. It begins with an introduction that underscores the importance of video in today’s digital world and outlines what readers can expect to learn. Chapters on gear selection focus on finding cost-effective yet high-quality tools, while the studio setup section provides tips for creating a visually appealing and functional workspace. Hosting skills are also covered, offering guidance on engaging an audience, whether in a solo format or with guests. Finally, strategies for promoting and distributing content on major platforms like YouTube and Spotify round out the practical advice. Additional chapters on editing, mobile setups, and software solutions ensure a comprehensive understanding of video podcasting, catering to creators at all levels. Now, of all of these sections, the section on gear stood out to us. On one hand, it was very practical and specific. It talked about the exact equipment you would need (or want) to have for video streaming as well as some options, recommendations, and suggestions. On the other hand, it seemed extremely niche and technical. It was like hearing two experts nerd out over different specs of different tech: microphones, boom arms, smartphones, cameras, lights, etc. There came a point where we started zoning out because of all the tech jargon and gushing over certain brands like Yeti. It's probably because we generally pretty simple people when it comes to technology. Thankfully, this book does acknowledge that some people want to keep it simple or don't have the means or know-how to use certain pieces of equipment. The authors talk about how iPhones can make great cameras and microphones in the right circumstances. In hindsight, this is ultimately a great section in a solid book. There's even a part of the back of the book which lists all of the different bits of recording & streaming software and hardware that was discussed in the book. So, if you want to go out and get something discussed in the book, you know what to find and where to find it! Check this book out on Amazon!  Score: 91+/100 (9.1+ out of 10)
"Who Are These Bugs?" is a pivotal musical number in Cate and the Garden Bandits: The Musical, composed by Zachary Simpson and performed by Erin Rementer, both of whom are previous Outstanding Creator Awards winners! This song is a good example of how music can deepen a narrative, develop character arcs, and captivate an audience. With its blend of humor, suspense, and melodic charm, the piece stands out as a transformative moment within the production, serving as both an entertaining and educational tool for its young audience. At its core, "Who Are These Bugs?" marks a turning point in the story. Cate, the protagonist and guardian/caretaker of the magical garden, discovers the identity of the mysterious bumblebee bandits who have been stealing petals. This revelation is not only crucial to advancing the plot but also allows for the exploration of deeper themes such as misunderstanding, community, and courage. The song opens with Cate’s curiosity and frustration, which are reflected in the lyrics: "Who are these bugs? Stealing from us. I don't know what to think of this." The simplicity of these lines makes them accessible to the target audience of children while effectively conveying Cate’s emotional state. The repetitive phrasing and rhythmic cadence of the lyrics ensure memorability, inviting the audience to empathize with Cate’s confusion and determination. It serves as exposition (explaining the situation to the audience) as well as character development (displaying Cate's gung-ho attitude). It also highlights how quick Cate (like many of us are) to jump to conclusions and judge people without knowing the whole story (or even the other person). She immediately labels the bumblebees negatively as “bandit bugs” despite not truly understanding their intentions or knowing them at all. Musically, "Who Are These Bugs?" balances playfulness and suspense, encapsulating the mixed emotions of the moment. The melody actually has an aura of mystery and even darkness surrounding it. The melody evokes images of sneaking and being under disguise like a detective or a spy. It does become more upbeat, light, and whimsical when Cate talks about the “magical garden” which reflects her feelings about the garden juxtaposed to the situation she finds herself (and the garden) in. This tonal choice draws the audience into Cate’s perspective, fostering a sense of intrigue. As the song progresses, the melody shifts to a more suspenseful and resolute mood, reflecting Cate’s growing determination to confront the bees. This dynamic progression mirrors Cate’s internal journey and keeps the audience engaged, ensuring the song’s narrative and emotional arcs resonate. Erin Rementer is an extremely talented singer with a wide and diverse range. It's impressive how she's able to heighten her pitch for these children's songs yet can still erupt like a roaring volcano in her other songs. In this song, she's able to sound apprehensive, fierce, upset, tentative, and even friendly! Rementer’s performance elevates the song, bringing Cate’s emotions to life through nuanced vocal delivery. Her ability to transition from a lighthearted tone to one of determination enhances the song’s impact, ensuring that the audience remains invested in Cate’s journey. Rementer’s voice captures both the whimsy of the magical garden and the gravity of the situation, creating a performance that is both engaging and emotionally resonant. This duality makes "Who Are These Bugs?" not just a narrative device but also an emotional centerpiece of the musical. One of the song’s greatest strengths lies in its ability to develop Cate’s character. Through her solo lines, such as "Petals are gone, this is all wrong. I must be strong to fix it," Cate’s role as a courageous leader and problem-solver is reinforced. These lyrics not only reflect her commitment to protecting the garden but also highlight the values of perseverance and responsibility. Cate’s willingness to take action, despite her initial hesitation, serves as an empowering message for young listeners. This character development is seamlessly integrated into the song, allowing the audience to witness Cate’s growth in real-time. The song also excels in its use of repetition and rhyme, which are hallmarks of effective children’s music. Phrases like "Petals are gone, this is all wrong" (which has a consistent AA/BB beat) and the recurring question "Who are these bugs?" create a rhythmic structure that is easy to follow and remember. This accessibility is crucial for engaging young audiences, who are likely to sing along and internalize the song’s themes. Furthermore, the rhyming patterns add a lyrical charm that enhances the overall musicality of the piece. Zachary Simpson’s expertise in composing for children’s theater is evident in the thoughtful construction of "Who Are These Bugs?" His background in working with Disney and Universal Studios shines through in the song’s ability to entertain while educating. By blending humor (in the absurdity of the situation and Cate's overreaction), suspense, and character development, Simpson creates a piece that is both engaging and meaningful. The song’s balance of accessibility and sophistication ensures that it appeals to children and adults alike, making it a standout moment in the musical. With that said, in terms of being a song in a competition, it is slightly held back by its extremely short length (only about a minute) and how it seems to constrain Rementer from showing off her full potential as a singer. Not every song can be a "Defying Gravity" (from Wicked) or a "Music of the Night" (from The Phantom of the Opera), but that's what we have to compare these musical numbers to on a scale from 0 to 100. However, it is short, sweet, and appropriate for a child actor to remember and perform on stage, which--like the musical as a whole--fulfills the purpose. "Who Are These Bugs?" is a good example of how music can enhance storytelling in children’s theater. Through its engaging melody, humorous lyrics, and emotional depth, the song captures a pivotal moment in Cate and the Garden Bandits: The Musical, making it an unforgettable part of the production. Erin Rementer’s performance, Zachary Simpson’s composition, and the song’s narrative significance combine to create a piece that is both entertaining and educational. By balancing humor, suspense, and character development, "Who Are These Bugs?" not only advances the plot but also reinforces the musical’s central themes, leaving a lasting impression on its audience. You can check it out here!  Score: 95/100 (9.5 out of 10)
This delightful children's book captures the joy, nerves, and unexpected fun of trying something new, in this case, a first dance class! It's a vibrant addition to Once Upon a Dance's vast collection of children's books. Stella Maris's illustrations bring every moment to life with charm and whimsy. The animal cast, led by Bella Beak (a chicken) and Quinn Hops (a frog), embodies the universal experiences of beginners—fear of inadequacy, intimidation, and ultimately, the joy of discovery. The color-coded text helps young readers differentiate between the characters, making it both educational and visually engaging. Bella and Quinn’s journey mirrors real-life anxieties: "Am I good enough?" "Will I fit in?" Their eventual realization that everyone starts somewhere, and that mistakes are part of learning, is an encouraging message for children and adults alike. The supporting characters, like Betty the Highland bovine and Kittina the cat (the dance teacher), add layers of humor and relatability. Kittina’s mix of patience, charisma, and mild frustration with the noisy parents makes her a standout character. The inclusion of Mrs. Jitterstein, the friendly spider who helps guide the students, adds another touch of unexpected charm. This book goes beyond storytelling by integrating interactive elements like prompts to answer simple questions (like how old the participants/readers are) or spot dance items in the illustrations. These activities make it engaging for young readers while subtly teaching them about dance concepts like plié and barre. It also familiarizes them with ballet attire and equipment, which can be a helpful educational tool! The narrative’s mix of fun and chaos mirrors the unpredictability of a real dance class. Bella and Quinn’s improvisations and mishaps, like dealing with forgotten uniforms or lacking flexibility, teach readers that adaptability and humor are key in learning new skills. The subtle lesson: dance isn’t just about precision but also about growth, community, and enjoying the process. Stella Maris's artwork is a standout feature, vividly and adorably portraying the characters and the environments/backgrounds. While the lack of Ballerina Konora’s dance panels was noticeable, the book’s dynamic and bright illustrations help to compensate for her absence. The slight choppiness in pacing, with new events on every page, may feel overwhelming initially but reinforces the theme of embracing the unexpected. Ready Set Dance is an exuberant celebration of new beginnings. It captures the spirit of a first dance class with humor, heart, and an understanding of the challenges and triumphs young dancers face. It’s a book that entertains, educates, and inspires, making it a worthy read for any child ready to take their first leap into the world of dance. Check it out on Amazon!  Score: 92+/100 (9.2+ out of 10)
A Crow in the Canyon by Melissa Widmaier is the second installment in the Realm of Light series, following The Wind at Oak Hollow, a previous Outstanding Creator Awards winner! This sequel delves deeper into the Ganwin family’s saga, a blend of high fantasy, emotional drama, and mythological undertones. Spanning over 600 pages (albeit reasonably short ones), the book weaves themes of family, power, sacrifice, and resistance, all against the backdrop of an expansive and politically charged world. The narrative picks up with the Ganwin family reeling from the destruction of their village, Na-ir, and the loss of loved ones. Messa, the family matriarch, leads her sons, Marl and Natsir, on a journey to rescue their patriarch, Nojhi, who is imprisoned in Selcovi by the brutal Captain Tyrc. Along the way, the family confronts personal grief, supernatural prophecies, and the elemental spirits Wind, Water, and Earth, who play an increasingly manipulative role in their destiny. That's right, Wind (one of the more compelling characters in the previous book) isn't alone this time in pulling strings. Marl, as the Wanderer, is the primary target of the spirits. They often exploit his insecurities and sense of duty, pressuring him to embrace his role in the cosmic balance. The spirits dangle visions of impending doom, subtly coercing Marl into aligning with their plans. Their guidance, while sometimes helpful, is often incomplete or cryptic, forcing Marl to make decisions without fully understanding the consequences. For instance, Wind’s possessive behavior exemplifies their control, pushing Marl to wield his elemental powers even at great personal cost. Earth’s influence over Messa is subtler but no less significant. As a priestess and a maternal figure, Messa feels compelled to balance her spiritual duties with protecting her family. The spirit of Earth amplifies this sense of responsibility, tying her actions to the larger survival of the Erutani people. By invoking Messa’s cultural and spiritual obligations, Earth ensures that she remains committed to their cause, even when it conflicts with her personal desires. Water, connected to Natsir, subtly reinforces his role as the stabilizing force within the family. While Natsir’s powers are less overtly manipulated, the spirit’s influence shapes his actions, encouraging him to prioritize harmony and unity. This ensures that Natsir complements Marl’s fiery nature, maintaining balance within the family dynamic. Water’s calm but persistent presence keeps Natsir grounded, yet it also limits his ability to fully explore his own individuality. Collectively, the spirits operate with a larger goal in mind—restoring cosmic balance. So, interestingly, they aren't true villains—at least not purely evil ones. In the previous book, Wind actually came across more like an overbearing stepmother, which is kinda what the spirits are—spiritual, overbearing step-parents. The novel also delves into themes that resonate on personal and political levels. The Ganwins’ loyalty to one another drives the narrative, with Marl, Messa, and Nojhi making significant sacrifices that underscore the strength of familial bonds. Marl’s evolving relationship with his elemental powers highlights the tension between fulfilling destiny and retaining autonomy, while the spirits’ influence raises complex ethical questions about power and responsibility. The rebellion against Selcovi’s regime reflects the challenges of uniting disparate groups for a common cause, particularly through the lens of Thronren’s network of allies. Amid the turmoil, the birth of Messa’s child and the family’s escape from Selcovi symbolize the persistence of hope even in the darkest times. The novel’s strengths lie in its emotional depth, richly textured world-building, and engaging action sequences. The heartfelt interactions between the Ganwin family ground the fantastical elements in relatable human emotion, while Selcovi’s oppressive atmosphere, the Erutani’s cultural heritage, and the spirits’ enigmatic presence create a vivid and immersive setting. High-stakes moments, particularly the rescue mission and escape, are thrilling and well-paced. Additionally, the protagonists, especially Marl and Nojhi, undergo significant growth, making their journeys deeply impactful. So, yes, for better or for worse, this is one of those fantasy books (like Kindred of the Unseen by Micah Beardsley) that puts a heavy emphasis on world-building. As you may have gathered from some of our previous reviews, world-building is a double-edged sword. An adequate amount can make a book's universe immersive. An excessive amount can ruin a book's flow and pacing, becoming more of a distraction than anything. The narrative occasionally struggles under the weight of its ambition. Multiple subplots, such as the rebellion’s internal politics, feel underdeveloped, while secondary characters like Thronren’s allies and Selcovi’s new leaders lack depth, limiting their narrative impact. The late introduction of a new antagonist feels rushed, detracting from the emotional payoff of Tyrc’s fate. Furthermore, while action scenes are dynamic, reflective moments sometimes slow the story’s momentum, creating uneven pacing in parts of the novel. Perhaps the issue with this book that reminded us the most of the previous one is its slice-of-life problem. It often seems as though we're going through different episodes of these fantasy characters just doing fantasy stuff at times. Sometimes, it got stale and stagnant. There were times we just wanted the narrative to move on with the plot. Thankfully, this book had a much clearer plot, goal (for the characters to achieve), and antagonist than the previous one did, which was much appreciated. So, despite some weaknesses, A Crow in the Canyon remains a compelling and richly layered addition to the Realm of Light series. Check it out on Amazon!  Score: 91+/100 (9.1+ out of 10)
Cate and the Garden Bandits: The Musical, written by Zachary Simpson and based on Betsy Coffeen's OCA award-winning children's book, is a vibrant, fun, and engaging theatrical adaptation aimed at young audiences. The central theme revolves around collaboration. Cate, a butterfly, and her insect friends work together to sustain the magical garden, while later including the bees in their ecosystem to show the power of unity. Conflict arises when the bees' actions being misunderstood as theft (by “bandits”). This theme highlights the importance of communication and mutual understanding in resolving conflicts. The narrative educates children about the symbiotic relationships in nature and the importance of every creature in maintaining an ecosystem, even ones that bite, sting, or seem unpleasant. That really spoke to us spider/centipede/wasp/worm-hating people. Cate embodies courage and takes a leadership role in solving the garden's problems, encouraging young audiences to take initiative and face challenges. She's accompanied by her bug friends including Pete (the potato bug), Davey (the dung beetle), and Walter (the earthworm). These characters add depth and humor to the story, showcasing different facets of teamwork and the interconnectedness of living things in a shared environment. They also bring comic relief, particularly through their initial fears and quirky personalities, but they demonstrate courage and loyalty by supporting Cate in her mission. Something that needs to be noted (and admired) is that the cast of this musical is relatively small and the lines are relatively simple and easy to remember. That's great! It's especially good for actors in the target age group (elementary school) who could find more characters and more complicated lines hard to remember and follow. We later get introduced to new characters like the bees (like Buzz & Bob) and their queen, Qira, who seems to have a bigger role in this script than in the book itself. This gives young people more roles to play without being overwhelming. And, thankfully, for the less cooperative, less inclined, or more shy kids in the classroom who need to be included, there's still a “Townspeople” umbrella role. Going along with that, it's also quite short. Yes, there are three acts, but the three acts are quite brief. The story really flies with the zip and zest of a dragonfly, and we wonder if this musical would even reach 30-45 minutes. It's really digestible and manageable for young people. And let's not forget, this isn't just a play, it's a musical! Songs like "The Magical Garden" serve as a vibrant and cheerful introduction, setting the tone for the whimsical world while introducing the main characters and their harmonious community. This number cleverly uses repetition and engaging lyrics, making it easy for young audiences to remember and sing along. Let's take a look at some of the lines in this musical: "The sun is up, the sky is blue. Do, do, do. I wake up with my friends too." These opening lines are simple, cheerful, and highly singable. They set a welcoming tone for the magical world and establish a sense of community right from the start. The repetition of “do, do, do” creates a playful rhythm that makes the song stick in the audience's memory. "Who Are These Bugs?" is another standout, blending mystery with humor. It captures Cate’s curiosity and determination while exposing the bumbling antics of Buzz and Bob. The playful melodies underscore the comedic tension and add a sense of adventure. "Who are these Bugs? Stealing from us. I don't know what to think of this." This introspective line captures Cate's mix of confusion and resolve. The rhyme and rhythm give it a lighthearted touch while advancing the plot. "Petals are gone, this is all wrong. I must be strong to fix it." This line builds Cate's character, showing her determination. The straightforward phrasing ensures the audience, especially children, can follow her thoughts and feelings. In a sense, it serves as both exposition (for what's happening and what Cate wants to do) as well as character development (showing how Cate is assertive and a doer). The reprises, such as the "Magical Garden Reprise" are skillfully woven into the narrative, creating continuity and emphasizing critical moments. These reprises act as thematic anchors, reminding the audience of the garden's values of teamwork, friendship, and problem-solving, while musically linking key scenes together. Repeating the melody from the opening number during pivotal moments ties the story together and reinforces its themes. For example, when Cate resolves to investigate the missing petals, the reprise underscores her dedication to protecting the garden. In "We are The Magical Garden" lines like, "We are all, we are all, we are all The Magical Garden," drive home the unifying message of the story. The simple yet impactful repetition makes it an emotional closing number, leaving the audience with a sense of shared purpose and joy. Cate and the Garden Bandits: The Musical is a charming, educational, and entertaining production suitable for families and schools. Its messages of teamwork, environmental stewardship, and the resolution of misunderstandings are timeless and impactful. Check it out here! |
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