Adrian Collins's Blog, page 137

REVIEW: Ogres by Adrian Tchaikovsky

In his new novella, Ogres, Adrian Tchaikovsky explores the oppression of humans by savage ogres. Lacking the emotional capacity, size, and strength of their masters, humans are subjected to a life of fear and pain for generations. One human choice in the heat of the moment will lay the road toward the most important question of all: why?

Aptly named, Ogres demonstrates a reimagined history of the world. For as long as anyone can remember, ogres have ruled over society and cultivated a natural order of things. Hailed as saviors of the world, these Landlords oversee and control the production, government, and every aspect of power, leaving the humans to be cowed and bent to their will. During a Landlord visit to one of their subjugated villages, things reach a boiling point between the human headman’s son, Torquell, and the Landlord’s son, Gerald, spiraling everyone down a path of secrets, truth, and justice.

Ogres is classically Tchaikovsky with its interwoven complex themes, but also departs from his previous works into something more naturally dark and raw. From the story’s inception, the tone and atmosphere blatantly display the unforgiving nature of the world, specifically in regard to societal class and race. His execution with balancing the tone and atmosphere to interlay the themes is masterfully crafted and acts as one of the strengths of the novella. These concepts are threaded from beginning to end, filtering down into the side characters and seemingly insignificant actions.

Where some readers might need time to adjust to Ogres is with the second-person point-of-view. Used scarcely in the genre, the informal usage of “you” could invest the reader more closely to the story elements or act as a hindrance. This narrative choice adds to Tchaikovsky’s unique storytelling ability, casting the characters, setting, and thematic elements into a different light. Grimdark fans will appreciate his use of violence, difficult choices, and the bleak setting to advance his characters’ agency as things unfold in unexpected ways.

Although just over 100 pages, Ogres makes the most of its length. Filled with relatable ideas and quips of foreshadowing, the narrative wills a sense of foreboding that will compel you to keep turning the page. Tchaikovsky parallels his own story with his description choices, often times leaving the specifics to the imagination: “At no time do any of those characters step from the page to tell you what happened, but somehow the writer does.” However, the largest takeaway from the novella involves the quest for knowledge. While there might not be bad questions, there are right ones, especially when freedom is involved.
Thank you to Solaris for sending me an ARC of Ogres to review.

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REVIEW: Ruin by John Gwynne

The third instalment in the epic The Faithful and The Fallen series by John Gwynne is Ruin. This review will not contain spoilers for Ruin but I strongly suggest you do not read it if you are not up to date with the series. If you would like to know more about the preceding novels, Malice and Valour please head over to their reviews. Or just start this series because it is astounding.

John Gwynne titled Ruin well. I am ruined after reading this novel. This is great grimdark writing and I am truly blown away by Gwynne’s skill in creating the Banished Lands, this ensemble of fantastic characters, and a plot that grabs the reader in a choke hold from the first page until the last over seven hundred pages later. I can think of few other series that are this consistently well written, and Ruin is only the penultimate offering. I think the final novel, Wrath, will be the crowning glory of The Faithful and The Fallen and I cannot wait to read it. As with the previous novels in the series, Ruin is a multiple point of view fantasy. It picks up straight after the ending of Valour with maybe a few hours plot wise between the conclusion of that and the introduction to Ruin. All but two of our perspectives in Ruin are ones that readers have already met so there is a familiarity to the viewpoints which makes the narrative move very quickly given the length of the novel. There is also a ‘Cast of Characters’ at the beginning of the book which serves as a handy reminder of who everyone is and what group they belong to. I personally did not care for either of the new characters, I think they may have been there purely for offering minor altered perspectives, but they may become of more importance in the last novel of the series.

Something I really liked in Ruin however was that Gwynne will describe key moments from the perspectives of multiple characters. For example, if there is a significant battle this may be described by one of the characters fighting it, then the next chapter would be from the point of view of one of their allies watching it, and then a third might be from the perspective of the opponent. This makes it feel more immersive as a reader, but also very quick to read as there are many short and rapid chapters addressing an important event rather than one long one. As I have said before, Gwynne’s battle scenes are immense and when he uses this overlapped style to describe them they become a thing of wonder. There are points in Ruin where I genuinely became very anxious, and had goose bumps because of what I was reading.

I also loved that Gwynne’s characters are so morally varied. At this point in the series, the God War has begun, and there are quite clearly the ‘good’ side with Corban as the Bright Star and the ‘bad’ side with Nathair as the Black Sun, but within that divide there is a deluge of moral grey that makes the characters seem so real and with that they are unpredictable. There are however some indisputably evil characters in Ruin who have yet to get brutally eviscerated by a wolven, so I can but hope that this happens to them in Wrath. Though, this is grimdark, so maybe they won’t get their just deserts.

I felt fairly comfortable that I knew where Ruin was going as a novel. I grieved or cheered as the plot unfurled and felt content that I would ride out this great story. I was wrong. Gwynne blindsided me in the last fifty pages and the cliff hanger that he ended Ruin with is soul destroying. I am broken. Which is a sign of just how magnificent John Gwynne is as a writer.

The Faithful and The Fallen may not have a happy ending, but this literary journey is just so damn good that every fan of dark epic fantasy should read it. 5/5.

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REVIEW: Gallant by V.E. Schwab

Gallant charmed me from the first page to the last. It is no secret that I adore V.E. Schwab’s books – just check out my review for The Invisible Life of Addie LaRue here. But it feels like Schwab is entering a phase in her career where her books are based on vibes and atmosphere, something that was true of Addie LaRue but is even more the case with her latest release, Gallant. Her books have always had a strong emphasis on character and setting over a fast-moving plot and I think that’s where her writing really shines. A book that is compelling enough to make me forget about plot and manages to keep tension throughout without much action? That’s a fantastic book for me.

Gallant is a special book, one that is ostensibly published as a YA or crossover title, but in essence is an all-ages story. It has just as much to offer to an adult audience as it does to one reading up from their usual diet of middle grade. It is creepy, it is dark but it is also comforting, tender and utterly absorbent. It tells the story of Olivia Prior, a non-verbal teen, abandoned in a school as a baby after her mother’s passing. When she suddenly finds out that she does have a family after all, one who lives on a vast estate, she is drawn into a world of secrets and magic. As I mentioned, the story relies on character and atmosphere over plot and so this is a slow-paced exploration of identity, family and what you are willing to sacrifice those you care about.

Schwab has managed to write another book that is a five star read without reservations. And this one is not merely a written story – there is a significant chunk of story told through gorgeous illustrations. This, and Olivia’s non-verbal nature make Gallant an interesting read in terms of communication. This means that much of the story relies on interior monologue and we get a lot of insight into the characters’ thoughts. Despite the added difficulties for the characters, Schwab manages to write them in ways where they do manage to communicate effectively and clearly – avoiding a trope that, to me, is extremely frustrating to read. It would be so easy to fall back into moments of communication lost in translation, but this is so much more satisfying.

All in all, Gallant is an excellent investment of your time and a continuation of everything that I’ve been loving about Schwab’s writing for years. But at the same time, it’s not really like anything I’ve read and that is a huge achievement. Five stars and a reread is already calling me.

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REVIEW: Red Sonja by Gail Simone

Red Sonja is one of the archetypical fantasy characters and a fountain for which hundreds of copycats have been created. She’s also a character younger than most people realize as it was not Robert E. Howard who created her (though he created her inspiration, Red Sonya of Rogatino) but comic book legend Roy Thomas in 1973. The character became immensely popular with her own series, “so bad it’s good” movie, and novels.

Unfortunately, the character is as infamous as she is famous due to the Esteban Maroto created chainmail bikini that became emblematic of sexism in fantasy. Terry Pratchett would even famously create a parody of her in Herrena the Henna-Haired Harridan where she would be described as famously wearing a sensible chainmail with boots. Despite this, Red Sonja has always had a massive female fanbase as well as male.

One of the early fans of the She-Devil with a Sword is Gail Simone, who loved the character as a teenager, metal swimswear and all. It was the “Women in Refrigerators” and Birds of Prey author who was asked by Dynamite Comics to reimagine the character for the 21st century and create an entirely new take on her. Red Sonja had been doing quite well since being reintroduced in 2010 but they wanted to try something new with her.

The result in her three graphic novel run is one of the best set of fantasy comics written in decades, at least in my opinion. My praise is not 100% without criticism to go along with it but presents my all-time favorite incarnation of the Hyrkanian heroine. Certainly, if you want to jump on the character then it is an excellent place to start if you don’t want to read the original Roy Thomas comics.

The changes to Red Sonja aren’t in her costume–though Sonja wears more clothes–but her backstory. The original story had our heroine sexually assaulted with her family slaughtered by mercs. Gail Simone removes that element from her backstory as well as the connection to the goddess Scathach that Sonja swore her “I will bed no man unless he first defeats me in battle” oath to. Indeed, this element gets mocked rather soundly throughout the story.

In simple terms, this version of Sonja is significantly hornier and spends a good chunk of the second novel wanting to get laid but being unable to do so despite looking like Jessica Chastain with better hair. Apparently, Red Sonja really needs a bath but it’s a running gag I found to be incredibly amusing. Sonja is also now openly bisexual, which is an interesting change given the character’s somewhat spotty history with representation.

Some of the few complaints I have about the book is the removal of Scathach as well as the fact Sonja is less noble versus more of a lumbering barbarian. Still, I think the removal of the “best her to bed her” oath is one of the better decisions of the book. Roy Thomas himself has stated that he’s received literally decades of fans complaining about it from both sides of the gender divide. Apparently, a lot of female fans (and of course male ones) thought she should be allowed to fool around.

The humor, action, and art of the book is spectacular as well as the characterization. Sonja is a bit of a lunkhead at times, doing stupid things like loudly announcing she has no money in a brothel, but still recognizable as her avenging angel of the Bronze Age self. This is a truly fantastic book and perfect for fans of fantasy comics.

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REVIEW: The Batman

Two years since first putting on the cowl and dark eye shadow, The Batman finds our young caped crusader facing a serial killer with an intellect that may be greater than The World’s Greatest Detective. It’s Matt Reeves (War for the Planet of the Apes, Let Me In) who takes on directing duties for DC Comics’ brooding Dark Knight this time as Robert Pattinson puts on the Batsuit. With countless films, TV series, books, and games starring the character of Batman, it was always going to be a tough task to create something fresh and new for a modern audience but I am pleased to say that the excellent cast and film crew solved that riddle with ease and have created one of the best versions of the infamous character.

The Batman is aware that the audience is familiar with the childhood tragedy that haunts Bruce Wayne and leads to him creating a violent alter-ego intent on cleaning up the filthy streets of Gotham. It dives into Batman’s journey two years into his mission where The Riddler is killing corrupt cops and politicians in the name of justice whilst leaving clues for The Batman. The Riddler in The Batman is written with clear similarities to the Zodiac Killer who terrorised California in the 1960’s. His clues are designed to mess with those intent on his capture and this adds a layer to the character of Batman that has never been seen in live action before. The Batman gives Robert Pattinson a chance to display why the character is known as the World’s Greatest Detective. The Riddler is the perfect villain for this stage of Batman’s career. He is menacing with heavy breathing like Darth Vader and his work in the shadows added an element of horror to the film that has been missing from previous Batman films. The fact that this is a villain that Batman can’t just beat up makes it all the more terrifying.

This is a serious film with only brief moments of levity. The Batman is narrated (in a style reminiscent of Rorschach in the brilliant Watchmen) and feels like a modern hardboiled noir detective thriller. Pattinson plays the role to perfection, a young, moody billionaire out for vengeance on the criminals who took his parents. He stomps and swoops through a stunningly realised Gotham City (filmed in Glasgow) that seems to have a life of its own and is the best version of the city since Tim Burton’s Batman Returns or even Batman: The Animated Series. There is a lot going on in the film with many characters but the almost 3-hour runtime allows them to stretch and breathe without it becoming too cluttered. Zoe Kravitz as Selina Kyle, Jeffrey Wright as Jim Gordon, and an unrecognisable Colin Farrell as The Penguin all stand out amongst the excellent cast and create something fresh in the crowded comic-book film market.

The Batman is a dark, brutal tale of a young man caught up in a dark cloud of vengeance with only glimmers of light shining through. Reeves has managed to bring together some of the best moments and moods from the long history of the Dark Knight (including the brilliant run by Scott Snyder) to prove once again that when DC and Warner Bros. get things right they really can create films of stunning quality that rival anything else on the big screen. Some people may be starting to feel Batman fatigue (Batigue?) but The Batman is arguably one of the best takes on arguably the most popular comic book character of all time.

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REVIEW: The Crimson Queen by Alec Hutson

There’s a certain class of movies I like to refer to as “popcorn movies,” by which I mean they are just fun. You sit there shoveling popcorn into your mouth, wide-eyed and glued to the screen, totally sucked into the action and before you know it the credits are rolling and you’re scraping the bottom of the bucket wondering where the time and the popcorn all went. The Crimson Queen by Alec Hutson is very much the literary equivalent of a popcorn movie, and I mean that in the absolute best possible way.

It’s immensely fun, entirely engrossing, and the absolute definition of a real page-turner. Once I cracked the cover on The Crimson Queen and started in on it, I found myself having a hard time putting it down and the pages and chapters flew by. It’s not just that it’s that good (it is, though), it’s that the pacing is phenomenal and the world itself is so lush and full of life, so clearly defined and believable.

Hutson does something with The Crimson Queen that I greatly appreciate, and it’s something that I feel not enough fantasy authors are willing to do: he trusts the reader. He doesn’t waste time on endless exposition or walls of description. Instead, Hutson presents the world and its history and inhabitants for us, the reader, to interpret through the course of the action and the story itself. And it pays off, big time.

The Crimson Queen takes place in a living world, brimming with  fascinating history and characters that you want to spend time with. Right out the gate things are actually happening, there’s no waiting around for the story to gain momentum, it happens right in the first few pages and a lot of that has to do with not only Hutson’s lovely prose but how clear and distinctly written his characters are. Each one is clearly defined and developed, and even the villains and antagonists are people you want to spend time reading about.

As a matter of fact if I had any chief complaint about The Crimson Queen it’s that I wanted more out of it. I don’t usually complain about a book not being long enough, and when I do it’s usually because the writer needed to take more time developing things. Here, the inverse is true. Hutson has developed the world in which The Crimson Queen takes place in so well I just desperately want to spend more time there going on adventures with the characters who populate it. Which, in regards to the characters and the story itself, as I mentioned previously is utterly engrossing.

While not being totally original and definitely playing with some well-known fantasy tropes, Hutson wields those tropes effectively. Even the Chosen One Farm Boy (he’s a fisherman’s son, actually) here is interesting and has a fun spin. There’s a conspiracy that spans millennia, monsters and gods and demons, hair-raising sword fights and magical battles. The Crimson Queen has everything you could possibly want or need out of an epic fantasy. Then, before you know it, it’s over and there are no more pages left. Thankfully, it’s only the first part of a trilogy so there’s more adventure and excitement ahead and I cannot wait to dig into it. I’m very happy to give The Crimson Queen by Alec Hutson an enthusiastic four stars, and have already added the next two books to my TBR pile.

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REVIEW: Stars and Bones by Gareth Powell

Gareth Powell has built a reputation for delivering well crafted and emotionally investing space opera with a fair share of humour, from Embers of War to Ack-Ack Macaque and his latest offering, Stars and Bones maintains that high standard.

The story kicks off with a terrifying first contact situation with a malevolent lifeform that results in a ship & crew being lost and sets up the search & rescue effort that introduces us to our core character, Eryn – who’s sister Shay was on the ship that’s gone missing

Stars and Bones then skips back in time to explain how humanity made it to the stars and it’s one of the bleakest, most cosmic horror inducing but weirdly hopeful versions of that trope I’ve found. It also includes a pretty direct criticism of the current UK government which is extra chilling given current world events.

Suffice to say that humanity – or ‘the Continuance’ now travel the stars in a fleet of sentient and characterful ark ships having been simultaneously saved from self destruction, then evicted from Earth by a higher power. The only problem is that now their scouts have encountered a hostile alien grey goo and the whole human race is in danger.

That’s a pretty epic set up and an interesting setting with humanity evicted but comfortable, space faring but not really deserving to be and under threat because we poked under the wrong rock.

So far, so space opera for Stars and Bones, with extra grimdark points for the visceral terror of the alien threat that Powell describes so eloquently that there were a few times I really should have put the book down to get some sleep, but couldn’t because I needed to get to the end to make sure these things weren’t still out there.

As with most quality space opera, the core of Stars and Bones is more human-scale, with Eryn looking to first find her niece Maddison and then keep her safe, while dealing with a potential romantic relationship amidst this end-of-the-world scenario. Eryn’s grief for her sister and determination to protect her family are the bedrock of this story and it really anchors the high concept elements.

Maddison is a well realised, feisty yet traumatised teen; Li Chen is a nuanced romantic interest and most of the other characters fill their roles adequately but are really stage dressing for the antics of the core. It’s also worth paying credit to the Furious Ocelot, Eryn’s sentient ship that she’s dream-linked to as it’s navigator. The Ocelot, via it’s blue-skinned avatar is a constant companion and protector throughout Stars and Bones and shows genuine humour and character. I don’t love it quite as much as I loved Trouble Dog from the Embers of War series, but it’s close.

Powell is an eloquent and engaging writer who manages to balance epic exposition, jaw dropping action (or horror) and introspective personal moments without ever losing control of the pace. Stars and Bones never drags, I found myself always caring about the outcome – even more for Eryn and company than the notional destruction of the human race.

All in all, Stars and Bones is a grand read, full of action and emotion and if you’ve liked Powell’s previous work, you’ll like this. Fans of Iain M. Banks and Stephen Baxter or stuff like Alien or The Expanse will enjoy it too.

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REVIEW: Horizon: Zero Dawn – Liberation

Horizon: Zero Dawn – Liberation from Titan Comics, written by Anne Toole and drawn by Elmer Tamaso, is an exciting slice of science fantasy set in the world of the record breaking and award winning video game of the same name. That’s something of a double-edged sword, though, because while Horizon: Zero Dawn – Liberation is very lovely to look at and a lot of fun to read, it assumes the reader has some kind of prior knowledge with the game world going into it. It’s not a total deal breaker, not by a long shot, but to truly appreciate the story being told and understand the world it’s taking place in it certainly helps to have some kind of functional grasp of the game. That beings aid, Horizon: Zero Dawn – Liberation is a great miniseries that tells an exciting tale within a tale, following along a pair of characters in pursuit of a criminal while one relates a story of their past as they go.

It’s a fun narrative device and makes sure that the action is always moving throughout the course of the story, and there’s never a dull moment during Horizon: Zero Dawn – Liberation. In regards to the action, it’s a joy to look at and flows remarkably well thanks to the very animated art style used by Elmer Tamaso. More than once I found myself wishing and hoping someone would option Horizon: Zero Dawn – Liberation for an animated feature. It’s highly reminiscent of a quality anime movie, in regards to the action sequences and character design, which facilitates the story Anne Toole is weaving to move along at a breezy pace. Despite its overall length, it makes Horizon: Zero Dawn – Liberation an easy read and something that can be comfortably consumed in a single sitting. I know I practically ran through it once I started it.

Horizon: Zero Dawn – Liberation is an easy, fun, and fantastic companion piece to the video game that inspired it which is, perhaps, the comic’s only downfall. I would have been happy with more insight into the world itself, but that lack of information didn’t stop me in the least from enjoying myself. If anything, it left me wanting more comics exploring and fleshing out the world of Horizon. As a standalone story, I’ll give you Horizon: Zero Dawn – Liberation a solid three stars and hold out hope for more in the future.

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REVIEW: The Warrior Prophet by R. Scott Bakker

R. Scott Bakker’s The Warrior Prophet is the second book in The Prince of Nothing Trilogy. The novel continues directly onward from where The Darkness That Comes Before leaves off, heightening the conflict and tension along the way.

In The Warrior Prophet, the Holy War ventures further south, and its leaders find themselves embroiled in violence from all sides. Suspicion and doubt mix with political advantage to threaten the timid truce amongst the Men of the Tusk. When their greatest enemy shifts from the heathen foe they’ve always loathed to their own inner sanctum, trust, unity, and faith are questioned, demanding answers of fatality. As the crusade paves its way in blood, everyone becomes equal parts victim and villain, especially those caught at its very center.

Bakker builds on the foundation of what he created in The Darkness That Comes Before throughout The Warrior Prophet. The novel pushes the limits of the crusade’s motivations, but also those of each individual character. The overarching narrative walks in tandem with each character arc: as the complications for survival mount, they trickle like water down to very specific defining moments for our main cast of characters. Bakker shines in his execution of epic action sequences to include the fallout and consequences, something not all stories take the time to focus on. Regardless of how traumatic or heroic, Bakker pulls the curtain back, revealing all to his readers. This is especially true for a horrifying sequence of events that occurs in the desert: war affects everyone in the most unknown and overlooked ways.

The agency of all his characters grows over the course of the story. This is particularly significant for the female characters as the choices they make directly impact the plot. The magical element of the world also increases in its usage and importance, making for some of the most visually interesting and immersive scenes in the book. As for how the novel compares to its predecessor, The Warrior Prophet has grand moments of epic proportion both for the plot and characters, but The Darkness That Comes Before is more well-rounded holistically.

The Warrior Prophet firmly earns its place under the grimdark label. Bakker lures you further and further into the darkness without you actively realizing it until it’s too late. While the first book acts as the moment between who you were before and who you are now, the sequel holds up a mirror to reflect all of those changes: “Your past remains your past…Who you once were, remains who you once were. Forgiveness between strangers takes time” (442). We’ll see how Bakker stages his final act in The Thousandfold Thought.

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REVIEW: Blade Runner: Black Lotus

Blade Runner remains one of my all time favorite science fiction settings. However, in spite of its continued existence over the course of decades, it has very little expanded universe material. Part of this is due to the fact Phillip K. Dick died in 1982 and wasn’t that fond of what he saw in Blade Runner’s movie adaptation to begin with. That seems to be changing with the Blade Runner 2049 movie and subsequent work by Ridely Scott to expand on his properties.

Blade Runner: Black Lotus is the attempt to expand the universe into the world of animation. The series was directed by Shinji Aramaki (Appleseed, Ghost in the Shell: Stand Alone Complex) and written by Kenji Kamiyama (Ghost in the Shell: Stand Alone Complex). Sinichiro Watanabe (Cowboy Bebop, Blade Runner: Black Out 2022) was the creative producer. With that kind of pedigree, it was something many fans were looking forward to immensely. So, how was it?

Okay. It was okay.

Blade Runner: Black Lotus is one of those series that feels like they didn’t aim very high and managed to clear the bar. Unfortunately, the lack of ambition in its storytelling is something that severely undercuts anything positive to say about it. It has a stellar voice cast with Jessica Henwick, Will Yun Lee, Brian Cox, and Wes Bentley. There’s numerous excellent action sequences. However, the writing is somewhat iffy and the graphics deserve a whole paragraph to discuss.

The premise is a young woman, Elle (Henwick), wakes up with amnesia in the desert outside of Los Angeles. Stowing away in a delivery truck, she ends up in the cyberpunk dystopia of the Blade Runner setting. This is set before the events of 2049 and Replicants are still officially banned on Earth. After discovering she has super martial arts skills and superhuman speed, strength, as well as agility, there’s no points for guessing that she’s not amnesiac but a newly created Replicant.

We discover Elle and a number of other Replicants were made the subject of a “Doll Hunt” that had a number of them murdered by the ultra-wealthy. Because of how traumatizing it was and possibly for a deeper, darker reason, Elle decides to hunt down everyone involved. She gets the help of a man named Joseph (Will Yun Lee), who seems awfully comfortable with violence as well as possesses unusual objects like a Voight-Kampff Machine. No points for guessing what he used to do in this series.

Slowly but surely, Elle manages to deal with her vengeance targets but finds herself getting increasingly in trouble with the law that doesn’t take kindly to revenge murder. Especially of the ultra-wealthy. We also discover Niander Wallace (Brian Cox) and his son, Niander Wallace Junior (Wes Bentley), are somehow involved in all this. It is a conspiracy that, sadly, is pretty obvious from the beginning and doesn’t really develop any twists that aren’t seen from a mile off even by animated television standards.

In conclusion, Black Lotus is an okay series but underwhelming at the same time. The series could have shot for deeper characterization, questions of existence, and storytelling. Only a few episodes really touch on this and I feel they underestimated their audience.

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