| Title | : | Reinventing Comics: How Imagination And Technology Are Revolutionizing An Art Form |
| Author | : | |
| Rating | : | |
| ISBN | : | - |
| Language | : | English |
| Format Type | : | Paperback |
| Number of Pages | : | 256 |
| Publication | : | First published January 1, 2000 |
Part One of this fascinating and in-depth book includes:
The life of comics as an art form and as literture
The battle for creators' rights
Reinventing the business of comics
The volatile and shifting public percptions of comics
Sexual and ethnic representation on comics
Then in Part Two, McCloud paints a brethtaling picture of comics' digital revolutions, including:
The intricacies of digital production
The exploding world of online delivery
The ultimate challenges of the infinite digital canvas
Reinventing Comics: How Imagination And Technology Are Revolutionizing An Art Form Reviews
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Lu à moitié mais en 2023 c’est l’effort qui compte alors ça rentre comme lu pareil (also c’est quoi le plus important?? pouvoir dire que tu as lu et détesté ou pouvoir donner un avis constructif???? bon c’est ce que je pensais)
honnêtement un peu trop niché à mon goût par rapport au premier tome qui nous émerveillait vraiment sur la compréhension de l’univers des comics, de sa « philosophie » (presque). J’avais été accrochée alors que là on a juste eu droit à une update sur le milieu des dessinateurs entre la publication du tome 1 et du 2. Wooooooo que les affaires changent entre 1990 et 2000… (ben genre oui mais comme mettons que t’es plus inter si t’es inter à être dessinateur)
Also les pages sont beaucoup plus chargées et c’est devenu trop lourd pour mon cerveau sulfurisé aux vidéos trop courtes
Anyways! (Quel bon mot qui finit toujours bien mes avis goodreads) -
Better as a cultural artefact than anything else (though I did occasionally enjoy certain historical tidbits). Perhaps this would have been more hard-hitting if I had read it when it was published in 2000, but half-assed discussions of diversity and cutting edge technology like CD-ROMs makes it woefully obsolete (and the writing wasn't anywhere near as engaging as its predecessor). Understanding Comics needs an update just because I'm interested in his take on the subject matter now; this is in dire need of an update for it to maintain any measurable relevance.
*******
Counting as my (FINAL!) Panels Read Harder item for a book about comics. -
Other than his 3D Lincoln comic this is probably Scott McCloud's most overlooked comic, but unlike the Lincoln thing this book deserves your attention. Yeah, even today, still. Many people have claimed that this book was dated when it hit the shelves and is certainly irrelevant now, a historical curiosity at best. That's partly true. McCloud's cry for more diversity in subject and viewpoint in comics is as relevant as ever (the dated caricatures of 90's diversity notwithstanding,) and his history of the business side of comics... well that's certainly a historical curiosity now, but history is important, ESPECIALLY in business, where people tend to take the same old pratfalls over and over.
His micro-payments proposal is less than inspiring, and is the weakest part of the book by far, especially now with the benefit of hindsight. He identifies the problem (specifically: "Whoops, we've been giving away all of our comics for free, how do we earn money off this now?") But then he fails to provide a compelling solution. Now it's 15 years later and webcomics are in a worse hole than ever. The successful comics are still successful, but the only viable merch for an up an coming creator to sell is a printed version of their comic, effectively preventing webcomics from taking advantage of the power of the WEB at all, instead using it as a stopgap until enough of a readership forms to PRINT THE BOOK. That's not Scott McCloud's fault, but this book didn't help, either.
So why am I giving the book a 5-star rating? Well, it's kind of a low five, considering all the chapters that fail to be manifestos and now feel more like filler. But there is a stunning jewel in the surrounding stone, and if you chipped away everything else the book would still be worth whatever you paid for it (these days probably like a quarter) for this chapter alone.
Of course I'm talking about the Infinite Canvas and Digital Comics chapter. Even it is not free of dated details, particularly a section on the wonders of Kid Pix, BUT DON'T LET THAT DISTRACT YOU. Scott McCloud's vision for the future of comics is crystal clear here, at last. And it's one of the most inspiring bits of comics theory I ever read, maybe moreso than Understanding Comics. Infinite Canvas is a road not nearly as well traveled as it by rights aught to be, but that doesn't make it a flawed concept. Some people see Infinite Canvas as a gimmick, and indeed the chapter can read like a list of gimmicks, if that's what you're expecting to find. Let's do as Scott does, though, and separate form from content. What's the difference between a gimmick and legitimate storytelling technique? Well, a gimmick is a technique that exists for the sake of itself, that holds no content, except maybe the extremely obvious or superficial. All it takes for a gimmick to transform into a legitimate technique is for somebody to recognize a way for this gimmick to deliver content in a way that no other technique could. And Scott McCloud makes a compelling case that the right creators could blow this whole comics thing wide open, transform comics into its most primal form and then transcend it, using Infinite Canvas (which is a MUCH more broad concept than people think) as their tool.
That more people haven't heeded Scott's call is saddening, but it's understandable. This book is not Understanding Comics. That book was revolutionary in how it attempted to free comics from their cultural baggage and dig into what really made them tick, at the core. As transgressive as the idea that comics have "infinite potential" was at the time, you didn't have to leave the safety of your favorite genre to appreciate it. Reinventing Comics on the other hand (at least, the good parts of it) was a roadmap for the future. Scott McCloud does not seem like a violent man, so he stopped short of asking us to tear down society, but in order to appreciate Infinite Canvas we had to, at least, tear ourselves away from our comfort zone. And wade through some muck to get there, besides. So it's understandable that only a select few have really taken his message to heart.
But listen: it's not too late. -
3.5 — for sure outdated, but I expected that going in. still fun to read abt the history and what they thought would happen ~someday.~ about what I expected, and I went in with like - medium expectations.
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Günümüzde tekrar ele alınması gereken konular. Eser sahibinin daha az zorlama bir anlatım ile daha iyi bir çalışma çıkaracağı kesin. Günümüz şartlarında çizgi romanı anlamak gibi bir şey mesela.
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Yirmi yıl öncesi için (2021 Aralık ayı notları) yeni, heyecan verici fikirlermiş…
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Read through it in the library today.
This is the first book I'm reading from Scott McCloud, however I hope to read more.
In the first chapter, he outlines reasons why he's worried about the comics industry, but it's very clear he's writing from the 90's. It really had me thinking, every other sentence, I wonder what the state of affairs is now and whether he's still concerned. He described a kind of "bubble" of comics-creation that inflated and then burst in the 90's. I work in the games industry, and it was honestly rather interesting to hear the way he described the comics industry of the "bubble" time, in which it seemed the demand for comics was going up and up, but really it had reached its peak-- it a little bit makes me reflect on the games industry that I'm familiar with at this present moment.
I was interested in this book just to see if Scott McCloud had any tips for the how-to's of developing and creating comics-- I didn't find as much as I was hoping for, maybe I'll find it in one of his other works.
I read through the chapters about 'digital comics', it was really more a reflection of what McCloud expected, at the time of writing this, the effect of computers would be on comics. At times I was groaning over the out-dated-ness, at other times I was stunned by some kinda outlandish ideas (comics on a rotating virtual cube? Virtual-reality comics? very Holodeck...) and there are a few things he mentioned which seem to have come true, in a general way-- like digital comics.
One thing that *was* very interesting and helpful and my favorite part, was his review of the history of comics publishing houses. That was very interesting to read from an insider.
In general, I do like McCloud's style of illustrating concepts and simplifying complex ideas down to hilarious and effective pictures, and he does this all the time throughout the book. I am still looking forward to finding some of his other stuff. -
A more pragmatic book than his Understanding Comics—and thus a bit less timeless, perhaps—this is nevertheless a clear, well argued and explained essay.
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Quite interesting. I agree from the other views that this book is very outdated, and remains as largely a "historical curiosity" today. However, it is extraordinary to me how accurate Scott was in his predictions overall. Not always, but often. Especially in predicting VR, which is indeed a thing now, and still expanding, but as he mentioned - other media remain cherished and integral to human interest.
It was a risky move for him to make something that was sure to age very quickly, but I'm glad he did it; it remains a time capsule of sorts.
The infinite canvas chapter was quite fascinating, and a concept I have seen explored very seldom. It felt dangerous of being gimmicky, but in the hands of a modern skilled creator, it could be incredibly powerful if used for the purposes of enhancing a story. ,
Also, he was quite accurate in predicting that the web could lose its freedom and be trafficked by those with the "deepest pockets". That's absolutely true, and happening actively at faster rates than I've ever seen before. Most people use only a handful of websites now - Amazon, Facebook, Fox News/CNN, Youtube, google search, Healthline, Twitter, and maybe a few others they are personally fond of. It's like TV channels; they are only so many, and they are strictly monitored. The Internet is no longer a "dark web" of secret communications. People are de-platformed, erased from the internet, and topics like health and politics are written from biased lenses - mirroring the opinions of whoever is funding them. I fear this will only continue for the worse, as with any other medium.
Fun Facts
Scott = INTP, pretty sure.
I skimmed through over 1/2 of this book. -
Understanding Comics was understandably groundbreaking and something that I still draw inspiration from (no pun intended), but this appendix-like follow-up doesn't hold the same clout. Whereas Understanding Comics was a timeless philosophical study for the sake of the art, Reinventing Comics moors itself firmly in the late 90s, exhaustively studying the history and industry of comics as it stood in the 90s and how it may shape up in the then-future. The entire second half of the book is based on an extensive and often esoteric study of where comics are going in the digital age, which McCloud acknowledges very early on will probably seem out-dated in the very near future. If that was so clear in 2000, then why devote such a huge endeavor to something that will so quickly seem embarrassingly dated upon reading in 2017? I appreciate reading much of the first half of the book, where he argues for more gender equality in the industry and more diverse topics by a different range of creators; furthermore I'm old enough to remember the strange potential that a CD-ROM comic "book" held, and the agonizing bandwidth speeds that carried the early internet, so I can relate to the topics presented in the second half, but this dated study should have been a short appendix to his timeless classic, not an entire book worth. What must have been an exciting and interesting read in the first few years after publication is now largely a waste of time.
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Published in the year 2000, when comics were in a slump, Scott McCloud created Reinventing Comics as a recommendation of things for the industry to focus on as a way of moving forward. His suggestions are amazingly prescient:
1. Comics as literature
2. Comics as art
3. Creators' rights
4. Industry innovation
5. Public perception
6. Institutional scrutiny
7. Gender balance
8. Minority representation
9. Diversity of genre
10. Digital production
11. Digital delivery
12. Digital comics
We don't get one chapter for each, instead they're all woven through the chapters. The first half of the book focuses on diversifying comics in both the creators and the subject matter. The second half of the book focuses on computers and is clearly written for people who are not early adopters of computers as an artistic tool.
This is one of those non-fiction books written for the moment. "Where do we go from here." Also, it's primary audience seems to be comics creators rather than fans or the general public. I don't think there's any benefit to reading this today. -
Understanding Comics is significantly better and definitely stands the test of time much better (the half of this that discussed Technology seemed small-thinking in 2017 since it was written in 2000; I suppose it's exciting that many of McCloud's predictions definitely came true -- but it also left me wanting much more because I wonder what predictions he has NOW for what comics will look like in 2040) but this was a fun and interesting read.
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Casarme con un dibujante de cómics me expuso a un mundo hasta entonces completamente desconocido para mí. Scott McCloud y su obra Understanding Comics fueron mi puerta de entrada (y me quedé en cuanto descubrí a autores del género policial). Esta segunda entrega explora la estructura, retos y oportunidades de la Industria del Cómic que, debido a mi formación profesional, me resultó un tema interesantísimo. En 2015, tuvimos la ocasión de asistir a una de sus conferencias donde pude agradecerle en persona que me hubiese ayudado a comprender y admirar la profesión de mi esposo.
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Ugh! J’ai fini!
La première partie m’a beaucoup plu, j’ai d’ailleurs revu ma note à la hausse parce que cette section à elle seule sauve le livre. D’un point de vue historique, les sections sur l’évolution de la BD avec l’apparition d’internet et le développement des ordinateurs peuvent être intéressantes, mais à mon avis les deux chapitres ont mal vieilli. Dans la dernière section, McCloud se lance sur des réflexions dont je ne comprends pas le sens ni l’intérêt.
MAIS la première section est toujours pertinente et le style est très pédagogique. -
no recuerdo que pensé de este libro ni cuándo lo leí sjsjjsjs
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Persuasive, thoughtful, and clear. Comics-as-essay still is a niche style, although I would like to see it used more, and McCloud is a master of the form.
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Karl Marx was a great describer of capitalism, but turned out to be pretty terrible at forecasting its fall. It is a lot harder to predict or influence the future direction of something than it is to describe it. McCloud gives it a good college try, though from 2011 Reinventing Comics has aged a lot more than Understanding Comics.
I am impressed that McCloud for the most part doesn't fall on his face, though as I read it I was constantly wondering how he is reacting to the state of comics NOW - which is the pitfall of a book that is positioned on the tip of the quick moving digital revolution. I'm sure there are parts of this book that were out of date by the time it took for the book to be published - hell, even as McCloud was inking this sucker you wonder how much he had to tear up and re-write. Like with Understanding Comics McCloud tries not to get too bogged down in the minutia, he focuses on the conceptual heart of comics - "sequential art". Most of the subject of this book is McCloud's hopes for his favourite art media - comics - it's filled with his bias for a wider field for comics to play. You can feel his frustration that the majority of the comic business has stuck to superheroes. I wish there was a wider field myself, and I can see McCloud's points that comics have so much potential.
Yet McCloud finishes his book in rather airy, some-what hysterical rhetorical flourish. It is such a symbolic flourish I wonder if it is a way to paper over the fact that he has many wishes and hopes for the future, but is actually pessimistic that the same forces that have kept comics restricted to the men-in-tights genre are going to continue to predominate in Western comic culture.
There have been hey-days in the past for independent/indie comics; it isn't out of the question that something may emerge in the future. The potential is there. But I don't think McCloud has the answer in his book. -
This sequel to
Understanding Comics: The Invisible Art is more fragmented, kinda preachy, and less interesting.
Part 1 of his manifesto for the reinvention of comics focuses on their public perception, industry missteps, and the need for more diversity (in all senses of the word). Solid stuff.
Part 2 focuses on the digital revolution and its implications for comics' creation, distribution, and format. He ends with some lofty talk about comics breaking free of the printed page. His idea of the infinite canvas is interesting, but it's ten years later and there still don't seem to be any good implementations (I checked
his website). -
I picked up this tome because I thoroughly enjoyed McCloud's first book, Understanding Comics (which I strongly urge you to check out if you haven't yet). That first book is focused on timeless theories about what makes comics and graphic novels worth reading, and how to read them. This one is longer and, because it's about the early 2000's and the technology that was coming on the scene at the time, it feels a lot more dated. There are still some interesting ideas and insights, and it's sad that nearly 20 years later, some of the battles for equality that McCloud thought were just over the horizon are still being fought; but McCloud's sincere belief in the importance of comics to tell stories as no other media can is engaging and refreshing.
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Reinventing comics. I was expecting thoughts on the new directions the comics as a medium would evolve. What I got in the mailbox is a political book that is mostly crap.
# 2021-08-10:
P0. Foreword. Well done.
P1. Recap. Well distilled.
P2. Actually P6. Part One starts. ”Modest living” as a badge of honor. There are people who live ”modest” or ”frugal” and are quite happy. Marking the modest is the mark of the loser. They know they are under-performing.
P6:
> Lately, I've wondered how much *longer* guys like me will be able to keep doing it.
Who cares? Do something that brings you more money. It's a form. And not ”a business model”. Business is one thing. Technique is something else. Medium is a third. And so on. Making money itself is an entirely different thing and it can blend with any other aspect.
Apparently McCloud masters the comic book. He sees and understands things that are not obvious to many. Now, when he gets outside that field, pain starts pouring out.
P7 is virtue signaling. There is something more, but it gets drowned in that. Yet, maybe I'm wrong and he is just helping his reader identify with his *purposeful* cartoon-styled character.
Last three panels p.9: the sales were up. Why? Because. Period. Decline. Period. Like a stray cat, the writers are victims, with no reason to save themselves. The environment is nothing more than the collection of noise and obvious objects. And somehow they have made everything possible.
P10 panel 8. Sure, comics can be studied. He has done that. Others have done like him. Only he does imply academic study. Or short: killing the medium for the sake of governmental grants. At times like that I am starting to doubt McCloud loves comics, that he hates them because they escape some grand plan he can't phrase.
P11/p2: actually he has a militant agenda. Fair? They used to receive a contract that was taking everything in exchange for *exposure* and maybe a publishing credit. Now they have the tools at a discount price. The authors themselves are so rich they can choose between inking with a brush, inking with a reservoir pen, inking with a nib, inking with an iPad, and so on. Not only some of the options were not invented, but there were places in America where the author could find NONE of the above.
P13/p5: Speculator market? Sure, in his church speculators are evil wizards that oppose the one true path. But if one takes a step back, the speculators were precisely the authors he praises, the ones who innovated. Some of them got their names on some lists. Some were forgotten. What McCloud's church calls speculators were most of the time the victims who lost their money falling for the snake oil sold by the artists. I'm not shedding tears for them, that is what taking risks means.
P14: talent. First of all there is no talent. Talent is just work, and not an undeserved gift from gods. Second, the way people got into comics was because of the context. Back in the day there was no glory. There was quite a risk, see the way the comics used to be censored. Now more people have the money and the skills. And there is an aura, after all anybody with a crayon is called "artist". Notice how he gives the statements as gospel, with no numbers or proof. But even if there were fewer people getting into the production of comics, so what? It is an established medium that with the latest Marvel and DC film productions is getting closer to mainstream. And, maybe a century from now, a new generation and a new spirit will emerge from this. Guess what? That will build on the comic books hoarded by the collectors and sold for a few cents in mint condition over some Amazon of the future.
So *Reinventing...* is more about building up a Trade Union, and some Faculties to gain control for a select caste. And it is very misleading sold as the new way of doing stuff.
P20-P21 are about the kid throwing a tantrum in the candy store: the Nanny should give him what he wants, as soon as possible, and it should be free, or nearly free. The man is so absorbed by his tantrum he can't waste time doing the math: if the author is paid much, and the consumer pays next to nothing, who is going to pick up the bill? Well, the others for whom the brat does not care: the people who truck the ink, the paper, or the volumes themselves, the accountants, and the lawyers, the night watchmen, the gas pump people, the paper makers, and the ink makers, everybody be damned, this is 'art' we're talking about!
P22 he is parroting crap he heard on TV. Minorities? Most of the important guys in the comics industry were Jews. Nobody asked them about a quota. Today with self publishing, anybody can get it, without armchair revolutionaries drafting petitions online. The Japanese market has more and more women, both on the production side and on the consumer side. ALL the crap McCloud is preaching for would only hurt the environment and stunt the development. And there are many toxic concepts injected: like "creators' rights". That means the rest of the society should be bound into slavery for the pricks that will get the "creator" certification or license? F that! One produces goods and sells the goods for whatever the buyer is going to give them, not a cent more.
P.23: real life has shown in other areas of visual creation the "directions" are not going in different points on the horizon, and that they can be blended.
I have to take a break. -
Like McCloud's earlier Understanding Comics, this book is a must-read for anyone who plans to work in the graphic novel genre. Though it's now eight years from its publication date, its predictive power and perspective remain right on target(and the presentation style keeps it a fascinating read). Find a copy and enjoy it!
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Back in the mindset of if I'm losing reading time to research, I'm putting them here. It helps when they're about comic books, and fully illustrated as if it was a comic book. More textbooks should be like this.
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Boa abordagem quanto como os quadrinhos podem melhorar, porém a história se perde quando conta sobre a internet, o autor poderia ter ido direto ao ponto em vez de contar do passado.
Definitivamente o livro está desatualizado no contexto digital. -
Well, I for one certainly was not thinking about the Internet in 2000, so all the stuff in here you'll be warned is dated was pretty fascinating to me.
He's such a good man, and thorough. -
When I borrowed this from a colleague, he told me that he liked it even better than he liked Scott McCloud's first book. I do not share this viewpoint at all. I finished the first one in two weeks...this one took me two months, and that was a struggle. Thinking about it though, led me to make some discoveries about myself and my own interests. I liked McCloud's first book because it delt with the ideas of comics, how they work, how they function, and how the reader interacting with them causes meaning transfer. This book deals with the media aspects of comics, what kinds of forms and sequences they might take, how they might interact with different technologies. While interesting to skim over, it doesn't draw me in, because I am more interested in how ideas are conveyed than I am in how the medium through which those ideas are conveyed might grow and expand.
I suppose that's what makes me different, I am not an artist. I do not wish to make my own art, I do not wish to explore layouts, or push the boundaries of sequentiality, I want to read stories where other people have done that work and then use that work to add nuance to their stories. I guess it's also a solidly narcissistic view, I want to understand what's going on in my own head as I read the comic, not what's going on the artist's head as they consider how to convey their idea. I want the story and the idea, not the process that goes into figuring out how to convey the idea.
On the other hand, I stand by my earlier statement. Scott McCloud is a prophet. This book was written in the 2000s but he accurately predicted a lot of the things that have happened in digital comics. I've been reading digital comics for several years at this point, and it's only in the last six months that they figured out they should be doing what he suggested on page 228 here: "A sense of 'where you are' at any given time could be provided through color changes in the panels already read." That frustrated me endlessly at the beginning of this year, if I stopped reading a manga because I found something more interesting, and came back to it more than 72 hours later, I could not figure out where I had left off! Now, there is a pleasant gray color indicating those that you have already read and it saves my sanity.
I am also struck by how well read Scott McCloud is. He will visually reference, or outright quote, dozens of authors on his pages. They are not all just comic authors either, on one page he referenced Cervantes and Stephenson at the same time. That was a bit odd. It's interesting to read this book and hear all about the Metaverse, and then realize how much of our current day moves are based on the fantastical ideas of those in the past, exploring their imaginations. Zucker must also have read Snowcrash. I wonder if he realized it's a dystopian novel? -
An interesting read, and one that I saved for after reading McCloud’s other works, Understanding Comics (the well known seminal work I first read as a teen), and Making Comics (one I read more recently, which had been published after this)
Unlike the other two works, Reinventing Comics is less instructional and more of a personal manifesto - it’s very interesting to specifically see McCloud’s own thoughts and opinions on the Then Future of comics! Also unlike the other two works, it dates itself VERY quickly. Reinventing Comics makes it no secret that it was made in Y2K, and while many predictions in this book are very prescient (he did predict the Webtoons style infinite scroll!! And how marginalised people would break into the medium with a more diverse range of genres due to webcomics’ low barrier for entry! And also maybe predicted the recession.) other predictions and comments make their dates very visible. Interesting to see that the battle to keep the web’s architecture open and decentralised was already in people’s minds in the year 2000, and it’s a shame that’s a battle centralised corporations currently have the upper hand in.
I wouldn’t recommend this book to someone who isn’t already deeply entrenched in the comics industry - his predictions for the usage of internet distribution and marketing won’t constitute actual advice on today’s internet, and for actual instructional advice on marketing your comics I’d recommend looking at authors like HP Lekhonen, Greg Pak, and “Iron” Spike Trotman, and their advice, posts, and publications on using crowdfunding, Patreon, webcomics marketing, and similar topics. Just on a purely instructional level.
That said, this was a thoroughly enjoyable read anyway, just in seeing how it acts as a time capsule and historical record of the comics industry as it was at the dawn of the Millennium - I even learned more about the comic book speculative market crash of the 90’s, something I was not at all knowledgable about before!
Reading a McCloud book is always a treat for me, because it’s always refreshing to read work that automatically assumes the comics medium’s artistic merit, dignity, and potential!
His thoughts on comics’ potential use of motion and hypertext interactivity has, however, left me with one final question:
Did Scott McCloud ever go on to read Homestuck? -
Scott McCloud the author, describes Reinventing Comics not as a sequel to Understanding Comics but as it’s own book. Reinventing Comics focuses more on the business side of comics and how comic artist were affected by the fall of comics in the 1990’s due to drop in sales, interest and limited collector items almost killed comics and caused a large majority of comic book stores to be shut down. Many people believe that this book is solly McCloud's opinions rather than breaking down how comics work and how they rose and declined in popularity through the 1990’s. Though McCloud does mention in his book that these are mostly his ideas on how to fix how comics are sold, advertised and made.
Here’s more about the book itself, Reinventing Comics, just like Understanding Comics is drawn like an old comic book, panel to panel. The art style can be seen as bland and boring since there is no action and all you see is the author’s character talking directly to the reader. Though, McCloud does use great examples from real life comics and artist to prove his point along with the funny/strange visuals from time to time.
Overall, Reinventing Comics isn’t an awful book and it isn’t a long read, but it doesn’t live fully up to Understanding Comics. There are still things to learn from it, like how the internet changed how comics are read and viewed and at times it seems that McCloud is demonizing online retailers for selling comics instead of a physical copy. But I wouldn’t buy this book at its current price, $17.89, I feel it might be a little overpriced and outdated to be so much.
