Godshaper

Godshaper #1-6

by Simon Spurrier, Jonas Goonface (Artist)

Eisner Award-nominated writer Simon Spurrier (The Spire, X-Men Legacy) and breakout talent Jonas Goonface introduce a vast world teeming with bold ideas exploring ownership, freedom, and the pettiness of possession—both physical and spiritual. Ennay is a Godshaper—godless social pariahs with the ability to mold and shape the gods of others. Paired with Bud, an off-kilter but affectionate god without a human, the two travel from town to town looking for shelter, a hot meal, and the next paying rock'n'roll gig. Collects the complete 6-issue limited series.

Genres: Comics, Graphic Novels, Fantasy, Graphic Novels Comics, Fiction, Queer, LGBT

155 pages, Kindle Edition

First published November 28, 2017

Reviews

[Sean Gibson · Rating 3 out of 5]

Okay, so, I didn’t end up loving this, though it’s a very creative idea and the art is good fun. You know what I did love, though? I mean, other than the turkey sandwich I had for lunch, which was exquisite, and the nap I just took at my desk, despite the subsequent crick in my neck.

I love how I found out about this book, which was by eavesdropping on a conversation at Midtown Comics in Manhattan. See, back when I was a weekly comic collector and lived in New York lo those many years ago, Midtown was my comic shop, and I loved it. Beyond having everything any self-respecting geek could possibly want in one place (albeit on two floors and involving an awful lot of stair climbing, which seems potentially hazardous for its target demographic), Midtown is populated by 1) employees who love and are passionate about comics and 2) customers who are the same. When I was up in NY for work a while back, I took a stroll through Midtown Comics one night and overheard one of the aforementioned passionate employees extolling the virtues of a few different Simon Spurrier books to a customer, who shared his enthusiasm for some of the same titles. I invited myself into the conversation, which they both readily welcomed, and a short while later, I walked out with Godshaper in hand and a pre-order for Spurrier’s Coda.

I realize that it’s not 100% always the case (as has been well publicized of late, thanks to some moronic trolls whose testicles I plan to donate to blind, wine-making monks, surreptitiously swapping out grapes for balls to be ground beneath those beatific monks’ heels), but, by and large, I find the comics community to be such an incredibly welcoming, inclusive, passionate, and appreciative group of people who are always eager to share something they love with someone else or embrace a book someone else loves. Yes, it’s a community fluent in sarcasm, and I love that about it, too—it’s perfectly okay to love Superman with every fiber of your being in one breath and then crack wise about the horrific injustice being perpetrated on him by whatever creative team happens to be on the book at the moment. Everyone’s entitled to their opinion, but when it comes from a place of love, as it so often does, and a willingness to support the hell out of a book you love, it creates a fantastic experience for everyone involved.

So, huge thanks to that gent from Midtown—keep doing you, man, and spreading the gospel. Here’s hoping I love Coda when it hits my mailbox next spring…

[Mark Schlatter · Rating 4 out of 5]

I'd rank the first three to four issues of this series as one of the most inventive reads I've had in years and one of the most surprising comics I've picked up in a while. Spurrier is building an America where in 1958 everything electric and mechanical stops working, but everyone gets a personal god to help with their lives. (These gods, thanks to the immensely good artwork by Jonas Goonface, resemble monochromatic Pokemon or stuffed animals.) As a result, the society depicted in 2017 still has a strong 50's feel, all the way down to language and dress. There are a few individuals without gods (called nogodys or Shapers) who can manipulate the gods of others (think upgrades or reskins). And, of course, our protagonist Ennay is a Shaper who feels both the pain of being an outsider and the joy of being unconventional. He travels with a little rogue god, Bud, who strangely enough is not connected to a human.

All that would be enough world-building to keep me interested, but Spurrier adds in a ton of music (Ennay is a "cantik" performer, which means music made without gods, only human effort) and a lot of gender fluidity. The result is a world that feels stuffed with detail and texture (and I haven't even mentioned what churches look like, the parties you have when you get your god, and the bead economy that everything runs on). It's an amazing tour de force of building a literary environment.

However, the plot near the end left me flat. There's a lot that happens in the last issue that has relatively little buildup, and some stuff is just left hanging. I'm concerned that the whole thing ended sooner than Spurrier wanted (possibly due to the publisher), and that there's no more coming. Still, if you are interested in a unique world delivered beautifully, I would take a look.

[Craig · Rating 4 out of 5]

I'm not sure I could clearly explain what happened in this book, but I liked it anyway. This is one of the most creative, imaginative worlds I've ever come across, where each person has their own individual god, technology no longer works, and there are some people (nogodys or godshapers) who don't have a god, but have the power to shape and upgrade other people's gods, and who, for some reason, live as outcasts. Some amazing and very colorful artwork throughout by Jonas Goonface (that's got to be a pseudonym, right? right?). I just wish the whole thing was a bit more comprehensible--not really sure what exactly went down there at the climax, who the bad guys were, what their motives were, etc., etc. But the sheer creativity that went into this has to count for something.

[Juho Pohjalainen · Rating 3 out of 5]

Good premise, okay characters, but the plot lost me towards the end. I could read it okay but I don't know if it left any impact.

Two and a half stars.

[Maksym Karpovets · Rating 5 out of 5]

Перше, що можна сказати про Godshaper - дивний і неймовірно красивий комікс. Усе починається у 1958 році, коли закони фізики перестали працювати: світло зникло, екектроенергія загалом стала неможлива, механіка уся зупинилась. Це спонукало до того, що кожен "завів" собі персонального духа/бога (типу покемонів), що став своєрідною валютою і загалом засобом виживання у цьому світі без фізики. Відповідно, чим більш крутий у тебе бог, то тим кращий у тебе соціальний статус. Енней, який нагадує чи то битника, чи то блюзового артиста (або водночас усе) народився без свого персонального бога. Він повністю є контрктультурним, марґінальним персонажем, який має здатність формувати (shape) богів, тобто налаштовувати їхню метафізичну форму й з'ясовувати природу їхніх можливостей. Енней змушений шукати рихисток і заробіток разом із Будом (богом без людини, тобто таким же безхатьком як і він), даючи концерти за гроші. Одного разу ця парочка аутсайдерів віднайшли щось особливе, таємнице, що назавжди змінить їхні життя й онтологію цього світу.

Звучить як мінімум дивакувато, але читати це неймовірно цікаво. Неймовірна блюзова, самотня й романтична атмосфера із поєднанням просто безмежної фантазії Саймона Спуріера перетворюють цю історію на свято для читача, особливо вимогливого. Світ із дивовижною текстурою, харазматичними людьми й не-людьми, які, взаємодіючи між собою, утворюють щоразу нові феномени у цій реальності. Якщо комусь справді хочеться чогось екзотичного - читайте Godshaper. Єдиним мінусом тут є те, що автор швиденько завершив історію, переймаючись відведеним простором, хоча тут можна спокійно розвинути цілий літературний всесвіт із різними рівнями й підрівнями.

[Luke Shea · Rating 3 out of 5]

Fun premise, lovely art with one foot in a wildly abstracted reality and one foot in wacky cartoon land. By the end it was a little too earnest and broad, maybe even platitudinous, for my taste. I don't know that I would have stuck with this as a series. But it's one-offness and defiance of mystery is one of the strong points.

It also has this sort of poetic southern jazzy patois to the dialogue, which IS fun a lot of the time? But also I was constantly worried about how racist it was. Hard to say.

I looked up artist Jonas Goonface to see what he's been up to and found this tweet about this book:

"2016-2017 I did GODSHAPER. A comic about a couple vagrants tryna roadtrip through a rockabilly USA while fighting all the prejudices and fixing them with music or something. This was the big Comics Job I'd always thought I'd wanted but wowie I regretted the fuck out of this.

I learned so much about comic biz. Learned the collaborative magic of taking someone's script and making something out of it. Learned that I have complete contempt for tepid liberal backpats. Got better at color. Figured out bleed margins. Learned I don't need this kind of work."

Enjoyed my time with it ok, but coming away pretttttty mixed on this one. Curious about Goonface's future projects, though. Seems like a cool guy.

[Dakota Morgan · Rating 4 out of 5]

Godshaper features absolutely fascinating world-building with a pretty decent plot stapled on. In a world where everyone has their own individual god, Ennay is a man without one. Fortunately for him, this godless state allows him to weave changes into the gods of others. Plus, he's got a humanless god, Bud, to keep him company, even if they're not attached.

The first few issues are well-paced, slowly introducing the world, Ennay, and Bud. These are easily the best issues - the art is vibrant and entirely original, the creativity of the world on a whole new level. There's so much going on, so many new ideas to catch, that it can feel overwhelming at times. It's worth re-reading, though, since the mechanics of the world are so well thought out.

The later issues involve Ennay and Bud getting mixed up with a gangster and possibly the government. What was a personal story of a godless man trying to find his way suddenly becomes a "save the world" affair. It's all still thoroughly enjoyable! I think I just enjoyed the quieter first few issues where the world is still small and new and brilliantly conceived.

Godshaper comes to a tidy conclusion in this volume, and that's fine, but I'd love love love to enter this world again sometime.

[Venus Maneater · Rating 5 out of 5]

What are y'all doing? Go get your hands on this! Reading this feels like a fresh breeze and it's simply marvelous. The art is unique and so is the story. It feels a little bit like His Dark Materials went and got a little freaky with the post-2010 Tumblr crowd.

In this world you are born with your own personal god, a being with hardly any limitations. It lives and thrives on worship and you are fucked if the prayer beads run out. Without a god you are a nogoddy, a godless goodfornothing. Forced to live the vagabond life. Our hero, Ennay, is one of those vagabonds. One that is also able to reSHAPE gods. Give them any power, any form, any color. Everyone needs you, nobody wants you.

Driven to live his own mediocre, as-far-from-special-as-he-can-muster-life, he tries his best to avoid all heroics. Good thing he's real shitty at not being a hero.

During his travels he adopts: two lovers (one a liar and a cheat, the other a gimp), a nogoddy child and an orphan god. Also: a shitload of enemies.

People are hating on the ending. Don't be hating, Ennay is loving it and that's all that matters.

[Oliver · Rating 3 out of 5]

I liked the art style, the vibe, the characters, the wonderful world building — the plot was a bit tricky to follow though. Seemed like it could have been planned out more, but it had okay development and flow. Overall creative concept that almost lived up to its potential.

[Nelson · Rating 5 out of 5]

Such a creative and dense story in such a short time. The only complaint I have is that the pacing speeds up a lot halfway into the story and some elements pertaining to the climax end up getting slightly muddled. But near perfect is still amazing and I highly recommend this book. 9/10

[Nuno R. · Rating 5 out of 5]

A stunning, inspiring urban fantasy tale. Simon Spurrier shapped an odd and solid concept that merges insights from and critiques of queer, religion, black culture and capitalism into existence.

[Mark · Rating 4 out of 5]

I revised my rating of Simon Spurrier's Godshaper Vol. 1 upward from three to four stars after I'd had a few days to reflect on the book. Godshaper Vol. 1 is full of rich ideas and raises a lot of ideas about American culture. Godshaper Vol. 1, however, does not explicitly raise these questions; you won't find weighty philosophical discussions here. In Godshaper Vol. 1, the big questions linger in the background and subtext of a tight plot that takes places in a richly imagined alternative present that looks and sounds very different from our own. Where some stories would offer answers, Godshaper Vol. 1 asks and provokes as much as is it make definitive points.


In 1958, physics stopped working, and every person got their own personal "god." A popular slogan declares, "A god for every man, and a man for every god." Spurrier's language is reminiscent of classic American slogans like "A chicken in every pot."

I used scare quotes to indicate that every person has their own personal god because, as the book proceeds, it's not evident that these really are gods. The entities that are attached to people clearly have magical powers, but are they gods? What makes an entity a god? Is it more than a matter of cultural interpretation? There's something very American about the decision to call these beings gods. We are a very religious society, more religious than other western society. Would other societies have called these being gods? I suspect they might have might have called them fairies or genies.

Shapers can affect gods, but have no god of their own. Is Spurrier saying something about atheism? About how Americans feel about atheists and atheism? What does it say about stereotypes of the magic Negro that Spurrier chose an African-American character to play this role? And this character is a musician, who rejects the role of magic, while simultaneously declaring that music is itself magic.

There is a lot to unpack in Godshaper Vol. 1, and I'll be thinking about this book for a long time.

[Petr Nakasharal Fabián · Rating 3 out of 5]

Všechny moderní technologie přestanou fungovat. A to včetně těch jako jsou třeba spalovací motory. Místo toho se začnou objevovat malý bůžci. Postupem času má skoro každej člověk k sobě připoutanýho bůžka, a ten plní úlohu všeho. Pohonu auta, doma funguje jako televize apod. Podle toho jak moc je člověk bohatej, tak velkýho a schopnýho bůžka má. A do toho existujou lidi, který nejsou schopný navázání tohohle pouta. Říká se jim Shapers. To jsou absolutní odpadlíci a ostatní s nima zacházej jak ho*nem. Ale mají schopnost měnit tvar bůžků, takže hlavně zbohatlíci využívaj jejich služeb protože je zásadní aby jejich maskot držel krok s dobou.

Je to totálně ujetý. Ale totálně. Původ bůžků, jak funguje jejich spojení s člověkem, díry v logice se tu absolutně neadresujou. Není to důležitý. Prostě Godshaper je šílenost a záleží jestli na tu hru přistoupíte. Komiks je obžaloba moderní společnosti, majetek je zlo, důležitá je láska, individualita apod. Je tam plno naznačený homoerotiky a celý je to sluníčkářský jak prase ale vůbec jsem s tím neměl problém. Teda až dokud nenastalo vyvrcholení příběhu. Tam autor těžce přešlápnul čáru, kterou jakž zakž držel a sklouzlo to k naprostý naivitě a debilitě jak kdyby to psal 19 letej student jako svojí povídku do šuplíku.
Art je taky buď a nebo. Obvykle se mi tahle kresebná stylizace moc nelíbí ale tady sedla jak prdel na hrnec a coloring je nádhernej. Za mě je grafický zpracování hlavní důvod proč dát Godshaper šanci.
Kromě nezvládnutýho konce jde o uplně ujetej a dobře čtivej komiks se spoustou fajn nápadů, když přimhouříte oči. Žádnej scénáristickej veletoč se ale nekoná.
Jinak jestli vás triggerujou lidský práva a za vším vidíte lgbt a rasovou propagandu a všeobecně nejste uplně dobrej člověk, tak jako pro vás to rozhodně není v žádnym případě.

[Lucas Lima · Rating 4 out of 5]

Ok, another great book by Si Spurrier with a very fun and decent art.

The premise is not a very usual concept and, again, we see how Spurrier is, in my humble opinion, one of the greatest world builders today, in comics. Ennay is a great character, as Bud and all our protagonists. Si knows how to describe, people, religions, places, culture, costumes and an all around sort of terminologies that he creates for his worlds. Something quite similar with what we saw on The Spire and Coda. And Jonas Goonface art is really close with Simon's partner in crime Jeff Stockley's pen. Very cartoonish and very beautiful.

it's a great book, with the only setback, being a fast pacing ending, with a lot of questions in the air, specially about Bud's origin on the book . But, again, not that will compromise another one's of Si Spurrier great works.

[Andrew Kline · Rating 4 out of 5]

I have been reading a lot of downers lately, so this was a nice change of pace. In this world, gods appeared and attached to humans. About 1 in 10,000 are without a god; while they are the dredges of society, they have the ability to shape and manipulate the gods of others. Ennay, a shaper who travels with a rouge god, has his freedom threatened as he is pulled into a scheme of manipulation and capitalism. Wonderful, energetic art!

[Wren · Rating 3 out of 5]

The premise of this and the art are AMAZINGLY COOL but the writing was really difficult to understand. It had that 50's style talk which is really cool but hard to follow with the world too. I LOVED the queer rep in this, it was so casual too. It was such a cool world with cool characters, just a little difficult to understand sometimes.

[Lainy122 · Rating 4 out of 5]

Such a cool concept! Adored the artwork, was kept guessing with the plot and had my heartstrings played with quite expertly if I must say.

Good read.

[Brewergnome · Rating 4 out of 5]

Really fascinating concept and story. Will definitely pick up more.

[Maja · Rating 4 out of 5]

Very atmospheric, very queer. Excellent art, and a story about friendship, and music, and about the fact that not everything has to have an answer.

[Benji Glaab · Rating 4 out of 5]

3.5 star

[Brianda · Rating 3 out of 5]

This was ok. I mostly liked the art and Bud, the concept was interesting. Just didn't find myself caring too much abt the characters beyond Bud.

[Brian · Rating 2 out of 5]

The premise of the story is novel but without explanation, and with the obvious chaos that premise would have resulted in, the civilization that resulted has to be taken on faith. This isn't necessarily a bad thing, but the way the new civilization works is mostly omitted. The characters are interesting, and the art is good. I especially like how the gay characters are treated. The conflict arises from an oppressed minority and one particularly evil character, and the solution through music is dubious. The story becomes completely incomprehensible by the end.

[Clint · Rating 5 out of 5]

Jonas Goonface’s art is what initially drew my attention and it remains incredible throughout, dominated by orange/purple/greens and pastel blues.

The writing shares a lot thematically with Spurrier’s The Spire, but I enjoyed this story even more. The premise is novel enough to enthrall me despite being the sort of Americana hobo story I’m usually uninterested in: an alternate reality where physics “went screwy” in 1958 and killed pretty much all convenience tech, instead replaced by personal gods for nearly everyone. This gives Spurrier space to pose questions about freedom and designated underclasses and the intermingling of materialism/faith and what people are willing to accept for the assurance of certainty, all of which I found resonant and more interestingly presented than The Spire. They also allow the characters to make interesting moral choices with stakes I cared about, and the main character’s rambling tale of road life on the margins of society as a “Nogody” was charming and melancholy. His relationship with Bud “the god without a believer” was heartwarming but mysterious enough that Spurrier managed to use the lure of answers as a hook in the plot itself.

Oh, and Spurrier’s bespoke lingo worked better for me here than in The Spire.

[Sarah T. · Rating 5 out of 5]

The Boyfriend recommended this to me by saying it felt like one of the most important reads he's read in a good long while.

I REALLY took my time with it. I loved the art (heck, I wouldn't mind having the cover as a poster!), but I mostly took it slow because the language was just so lyrical. There's a shit ton of subtext; you name it, it's represented in this graphic novel. Race. Gender. Religion. Wealth. Technology. Just keep on going, those are the most obvious.

This was a fantastic read, and I'd recommend you taking your time with it too. It really was profound.

... and Bud is adorable with his hat collection too, so that's like a cherry on top.

[Grumpy Old Man · Rating 5 out of 5]

The story about human segregation and selfishness is a valid image for a world of castouts where almost everyone has a god, but even when they need you they still shun you. Jonas Goonface delivers a solid represtation of the stories universe.

[Travis · Rating 3 out of 5]

That goodreads lists this book as Vol. 1 is a bit misleading, since it appears that the story comes to a conclusion here. I'm actually pretty happy about that; there is certainly enough material to the setting that they could have gone on longer, possibly indefinitely, but I like having closure* to things I read, and not having to wait months or even years to get the final payoff of the story.

*Though, yes, this story doesn't really provide closure and very directly points out that there is a bunch of stuff left unexplained and unexplored, but I found that I liked how this was so directly addressed, a refreshing change from most serial fiction where explanations are dangled just out of reach, often until you are either no longer care, or strangely dissatisfying once resolved. I do wonder if this is the original intention of the story, or if it is a matter of the comic series not doing well enough to be extended and the author essentially addressing the audience with this fact.

I noticed a few reviews here commenting on the world building of this story. In my opinion, although the story has an interesting premise, there is actually relatively little world building. By which I mean there isn't attention given to the gritty details of how the main concept of the setting would really work; the later chapters make clear that most of the details like the gods acting as bank accounts/tools is really there to provide biting commentary on the obsession of American culture with commodification and consumption, comparable to religion, and likewise the way that religion profits from and feeds into these drives. But if you try to figure out how things would work, they make little sense: there is a lot of talk of belief and worship in reference to the gods, and the act of praying is used to transfer units of currency; but how is there a limit to the worth of a god? couldn't someone just spend time praying to their own god to boost its value? Or conversely, if there really is an element of belief to how it all works, wouldn't the whole situation be unstable, since once one god started to gain more power, people would almost necessarily have more faith in it, granting it more power in a spiraling positive feedback loop? So, yeah, in my opinion the setting isn't super well thought-out, but it is engaging enough that it is easy to accept what is revealed and follow the story, and not get stuck over-analyzing everything.

Another part of the setting I don't really dig is the whole 50's survival angle, the prevalence of greaser and rockabilly style in a non-retro/ironic fashion, and really the whole music-as-salvation angle; I've never been as into music as it seems most people are, so that sort of concept is never resonant with me. And of course the insularity, petty small-mindedness and moral judgmentalism of small-town America shown throughout is rather unpleasant, though I suppose that is the point. But on a similar note, vespers is actually a really disturbing concept. When it is first introduced, it seems to be a way of invoking justice where it is otherwise denied, but later examples make it clear that actually it is fueled only by the moral outrage of the one invoking it (whether there is any real justice in the accusation or not), and the unspoken greed of the gods and/or their believers, for the gods pulled into it evidently feed on the targets and gain strength/wealth.

But anyway, despite my criticism, it is an overall enjoyable read; good art, interesting ideas, and engaging characters.

[Jake · Rating 5 out of 5]

A New Perspective On Inequality

Don't you ever get tired of the same old arguments? I am.
What happens when elements of two "opposing" ideologies get changed around? I.E. The one percent are the have-nots. Besides, what do these people really want? When you really get down to the barebones, it's all about accumulation. Whether that's money, people, power, and influence. In practice, that's not just capitalism no matter what anyone thinks. You can't get your revolution without an overwhelming amount of people. Because in the end, that's all it is, stealing the best chance to win.
So anyway. What happens when technology and money become our literal gods? Fully sustainable as long as you can give it the God's currency, no less. But the people who don't have them and survive, they're outcasts, but they're necessary because they can give these gods shape. So what does a nogoder and a God without a person do? Travel and play outlawed music. It's a new version of the 1950s, but it's more inclusive.
But what got me down more than the exploitation or characters who were relatable and likable for their sympathies, or how a plot develops with it's structure, and the creative payoffs to some microplots was how bullies remain a problem. The worst thing about them is how their victims wish they could do it to someone else if they feel like their sanctuary is threatened.
Best of all, this addresses the inherent problem of making people aware. While it's necessary to be better prepared, there's the problem. Being aware of an issue comes with no plans to make changes. There's no direction, just people saying how things should be. Think of it like how scams can happen. In a job search, I almost embezzled money for some people. But I really needed a job, any chance, because of how fast things kept changing in the approach. People can be aware of problems as much as they want, but that doesn't make them go away or people getting into them.

[Nathaniel Voll · Rating 2 out of 5]

Godshaper is a visually stunning volume backed up by an inventive sci-fi story line. Simon Spurrier has created a detailed and believable world of what-if's, wherein human characters each own a "god." Gods represent, currency, status and companionship. Spurrier covers various factions of good guys and bad guys, the godless outcasts and the deity-worshiping masses. The world he has built is solid, but where the narrative falls flat is in the characters and plot points.

Spurrier reveals character flaws which are immediately forgotten. He leans on tropes like the orphan-child-with-special-powers and the defecting soldier, trusting that his audience knows his characters without explanation. He builds towards unsurprising and over-foreshadowed reveals that fall short. Unfortunately, I never felt a connection to Spurrier's characters, though there was great potential given the fantastic world of the story.

Despite this, I found the book to be an easily-digested page-turner. Jonas Goonface's illustrations are breathtaking, and his page layouts are inventive. I won't finish the series, but I'm glad that I read the book.

[Claire · Rating 3 out of 5]

This story was chock-full of wonderful ideas, had some interesting characters, and fantastic artwork, but the ending did not provide the kind of closure that I was looking for. I get that it seemed to be kind of the point, "Life is a mystery and we don't need to know all of the answers, follow your heart and be kind to one another, blah blah blah..." but this felt less like an intentional open ending and more like a cop-out. Like the writer was becoming exhausted with the series (it's only six issues long, though!) and just tacked on a hurried ending with the bullshit explanation of "I don't have to explain this shit; that's not the point. The point is that everybody got a happy ending and the main character changed the world with his music. Or something."

[Darth Reader · Rating 2 out of 5]

Here's the thing, it's clear this person read Small Gods by Terry Pratchett and ran with that idea, which, I mean, I can respect because they definitely tried to make it their own. Buuut. It didn't work. Their execution was...godawful (budumdumchiss). First, why the hell did everyone talk like they were from the '20s in a comic that's supposed to take place, like, a couple years ago. And second, why the hell did this comic take place in OUR universe? Make another universe, dude! It would've made things so, so, so much easier and smoother for you.

Just...this comic didn't work for me. But I'm giving it two stars because it was creative and the art was cool.

EDIT: Also it was way, way, way, way, way, way too long.