Adrian Collins's Blog, page 33

REVIEW: The Battle Drum by Saara El-Arifi

Look, I’ve made it no secret that I adored The Final Strife, but El-Arifi truly takes everything that was so bloody brilliant about the first book and cracks it up to eleven in The Battle Drum. The prophesied ending fire is looming ever closer, and now our favourite crew of flawed yet loveable chaos queers will have to choose between duty and desire to save their world from total destruction; cue the emotional turmoil!

The Battle Drum picks up almost immediately where the first book left off, sucking us straight back into the messy lives of our three fierce female leads. I was nervous to see if El-Arifi would be able to keep the story as engaging without the action-packed and high-stakes trial element that made The Final Strife so addictive, but I should never have worried. Although the pacing slows down significantly, the expansion of the world and the development of the characters and their interpersonal relationships quickly prove to be infinitely more captivating than any trial or battle could ever be.

For me, this sequel absolutely shines in its character work, and I thought it was very exciting to see Sylah, Hassa and Anoor all go off on their own personal journeys. These three ladies all absolutely have my heart, not because they are so perfect and loveable, but exactly because they are so relatable in their deep flaws and human messiness. And the entire cast of side characters also just pops off the page with personality, offering plenty of characters who you can love, hate, love to hate or hate to love. At times I didn’t know if I wanted to hug, strangle, shake or slap them all (okay maybe except for Jond, who gets his own POV here; he definitely deserved to be slapped), but that is exactly why they feel like real people to me and why I am so invested.

Now, I’ll admit that I was initially a bit nervous about the fact that some of my favourite characters were separated in this instalment, but in hindsight I think that was exactly what this story and the characters needed to live up to their full potential. While I did end up preferring Hassa and Sylah’s exciting storylines way more than the slightly lacklustre murder mystery plot line in Anoor’s life, I seriously can’t point to a single dull moment in this book. El-Arifi has a true gift for creating compelling and complex relationships of all natures that tug on your heartstrings, so it truly doesn’t matter who is together on the page, because every single scene just hits. And don’t get me started on all the casually queer love, the romantic tension is just absolutely delicious in here (can we get a Hassa and Kwame spin-off series? Thank you very much). 

But as if all that wasn’t enough, we’re also treated to a very intriguing and mysterious new POV in The Battle Drum that I was both fascinated and slightly terrified by. At first this new addition threw me off a bit, but it soon became so much fun trying to figure out who this person was and how their storyline would interweave with all the others; if you pay close enough attention, you can pick up on the breadcrumbs and puzzle the pieces together yourself, which made for such a satisfying and rewarding reading experience.

This book is just full of crazy twists and turns that will keep you on the edge of your seat the entire way through, and especially the revelations about the world building and magic system were jaw-dropping. I already loved this vibrant African/Arabian inspired world from the few glimpses we’d gotten of it in The Final Strife, but it was truly awe-inspiring to realise the full depth and breadth of this world here as Sylah travels outside of the Wardens’ Empire. There’s so much mystery and intrigue woven into the history, lore, religion and magic of these lands, and I loved seeing everything start to unravel as our characters made some truly shocking and earth-shattering discoveries. Familiar tropes like prophecy and chosen ones are also incorporated into the story in new and clever ways, which just makes The Battle Drum one of the most unpredictable and refreshing modern fantasy stories.

Now, fair warning, El-Arifi does not shy away from the darker and more disturbing content. The stakes are immensely high, and I really appreciated that the characters really have to deal with the repercussions of their (questionable) actions in The Battle Drum. Difficult themes of racism, discrimination, classism, gender identity, sexuality, disability, addiction, toxic (familial) relationships and religious zealotry are all explored in meaningful and deep ways with effortless grace, all without ever feeling on-the-nose or overbearing. This might only be El-Arifi’s second book, but I wouldn’t hesitate to call her a master of her craft already.

All in all, I think this is one of the better sequels that you will find in the fantasy genre. If you liked The Final Strife, then I truly can’t see how you won’t enjoy The Battle Drum. El-Arifi’s visionary storytelling is a true breath of fresh air in the fantasy genre, striking the perfect balance between the fun, wonder, wit, disgust, despair and undying resilience and hope. The Ending Fire trilogy is quickly becoming one of my new personal favourites, and I can’t wait to see how it will all wrap-up in the finale.

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REVIEW: The Radleys

One of the latest vampire films to hit the market, its release perfectly timed to make the most of the spooky month of October, is The Radleys, directed by Euros Lyn. You can catch it in the UK in a limited cinematic release, or if you subscribe, on Sky Cinema or NOW TV.  I started watching The Radleys with no more knowledge than the trailer gave me, and my strong-held opinion is that Damian Lewis, who plays two characters in this film, is a great actor, so it should be worth watching.

Now, had I known before that The Radleys is an adaptation of a contemporary fiction novel, not a horror novel, I would have had very different expectations about it. But I didn’t have that knowledge prior, and as the film went on, it became apparent that this film was less horror and more dark comedy with some blood spatter. As someone who was after a dark and brooding vampire film (and considering that the synopsis describes it as a ‘vampire thriller’), I find that The Radleys was not the best film to pick.

The film follows the eponymous Radley family, a vampire family that abstains from blood drinking. The Radley parents, mild-mannered doctor Peter, played by Lewis, and housewife Helen, played by Kelly Macdonald, constantly struggle to keep their addiction under control and have also chosen to keep their vampiric natures a secret from their teenage children, Clara and Rowan.

This parenting strategy backfires somewhat when a stressful situation causes Clara to lash out and kill, becoming a blood drinker in the process. Peter then calls in his estranged brother, the violent louche, “active vampire” Will (also played by Lewis), to help clean up the mess.

There are some things that The Radleys has done well. Damian Lewis’ double role was good to watch, with him giving each twin different mannerisms and movements and them both having very different styling to show their disparities. The film’s younger leads, Bo Bragason as Clara and Harry Baxendale as Rowan, perform very well. Harry Baxendale’s performance as a closeted gay teen struggling to find his place in the world was very well done.

Overall, The Radleys missed the mark for me, and I suspect it will be the same for anyone who starts watching it wanting a modern vampire thriller. It initially held a lot of promise (opening with scenes of Whitby and early bloody violence), but this dribbled away as the film continued. I found it not particularly dramatic but only slightly funny, so I can’t even truly describe The Radleys as a dark comedy.

The main actors in The Radleys perform well, given what they’ve had to work with, and as the main reason I watched it was because of the casting, that’s a small win. But if you are after a new movie that is going to be a great addition to the vampire movie pantheon or are searching for a deliciously dark watch to sink your teeth into, The Radleys isn’t the one to watch.

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REVIEW: Sleepwalking by Daniel Barnett

Well, I guess that’s it then… with Sleepwalking, Daniel Barnett has officially become a new favourite author and established The Nightmareland Chronicles as one of my all time favourites; this series is truly my horror dream (or should I say nightmare?) come true.

If the previous instalment, Lullaby, was Mariah’s book, then Sleepwalking is Marcos’ book. Never before have I enjoyed a child character as much as I do Marcos, and it’s truly insane how deeply emotionally invested I have become in him in the short time since we first met him. He is somehow both extremely emotionally mature for his young age while also maintaining an endearing level of childhood innocence, which is exactly what makes him such a surprisingly complex and compelling kid.

Not to mention, the deaf and (child of) illegal immigrants experience are both extremely beautifully and authentically explored through his eyes, making me empathise with him on a level that should not even be possible considering our completely different lived experiences. I found it especially touching and inspiring to see how Marcos’ deafness almost becomes his biggest strength in this post-apocalyptic nightmare world, helping him escape the dire threat of the soft yet malicious lullaby that is lulling humanity to sleep.

Moreover, the dynamic between Marcos and Mariah just tugged on my heartstrings in all the most unexpected ways, and I love the unconventional yet powerful exploration of motherhood and (found) family in Sleepwalking. As nightmares of the dead start to manifest and they get hunted and haunted by monsters both human and supernatural, their uniquely strong connection becomes their shared guiding light that drags them through the darkness.

And oh damn, do things get dark and violent in Sleepwalking. This instalment combines the King-esque southern small town horror of Nightfall and the more inexplicable supernatural horror of Lullaby, and the horrific visual imagery unsettled me in new ways I was not ready for. Barnett’s evocative wordsmithery just continues to creep deeper and deeper under my skin, and Adam Gold’s exceptionally enthralling narration of the audiobook once again kept me in a chokehold from beginning to end.

Somehow, I don’t even mind that I am once again left with more new mind-boggling questions than satisfying answers, because the level of mystery, intrigue and looming dread is exactly what makes this series so dangerously addictive to me. And after that shocking and diabolical ending, I am beyond excited to see what Barnett has in store for this odd yet loveable found family of broken souls. I seriously cannot say enough good things about The Nightmareland Chronicles, so just trust my word for it and embark upon this epic horror journey for yourself already; you can thank me later.

Thank you to the author for providing me with an audiobook ARC in exchange for an honest review. All opinions are my own.

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REVIEW: Terminator Zero

Taking the Terminator franchise in a new direction, Terminator Zero sets the story in Japan in different years (of course) and moves away from live action to the world of animation. Can the new direction jolt some life into a dying franchise or is this effort just another reason for not wanting Terminator to say, “I’ll be back.”?

In a dystopian 2022, Eiko battles a Terminator and hacks it to gather data around Skynet’s plans. Following this, she meets the leader of the resistance, The Prophet, who gives Eiko an important mission to travel back in time to 1997 to prevent workaholic scientist Malcolm Lee from creating an advanced AI system called Kokoro that could threaten the world. Terminator Zero does feel fresh for a franchise that has been struggling for sometime. Taking the approach that worked so well with Prey and the Predator series, moving the story away from the United States and the familiar characters allows the story stand on its own and the quality of animation is just another example of why the best stories are being told through this medium (Arcane, Castlevania, Cyberpunk: Edgerunners, Blue Eye Samurai).

There are twists and turns aplenty throughout the series as there often is with time travel stories but Terminator Zero generally keeps things simple to its benefit. Malcolm’s story is an interesting one as he discusses the purpose of humanity with his AI Kokoro and though the philosophical conversations are mostly surface level stuff, there’s nothing jarring in their discussions that take you out of the story. Malcolm himself turns from a man who is quite robotic, working all the time and ignoring his children, to someone who is a bit more human as the reasons for his actions unfold. The action in the series never disappoints with fights between humans and Terminators along with Kokoro’s forces taking place both in 1997 and in the dystopian future. We see how humans react in fear with sudden changes in their world and the violence that ensues at a time when Malcolm is trying to persuade Kokoro that humanity is worth saving and isn’t always violent. It creates an action-packed and pacy series sprinkled with moments of quiet and reflection that comes together to create the best Terminator media since Arnie lowered himself into lava with a thumbs up. As with most animated series, the voice cast needs to be spot on to keep you focused on the story and Terminator Zero is pure quality in this regard.

Terminator Zero will brink back fans of James Cameron’s franchise who might feel a little burned by recent efforts. A new location and the use of animation allows the story to breathe new life into the franchise and allows Terminator Zero to stand well clear above the recent efforts in film. Terminator Zero proves that we can bring the franchise to life with a story full of action that focuses on what it means to be human. I’m hoping it isn’t too long until it’s back.

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REVIEW: Conan the Barbarian #15

At the conclusion of Conan the Barbarian #14, Conan was embroiled in a brutal skirmish between Aesir and Vanir Northmen. His Aesir comrades-in-arms wiped out in the conflict, it falls to Conan to dispatch the final Vanir champion. He catches a savage sword blow to the helmet, however, leaving him dazed and reeling. At long last, the red-haired beauty that has spent weeks stalking Conan from just out of sight takes the opportunity to reveal herself. The icy nymph goads the barbarian—who is concussed to the point he is unsure “whether to fight or frolic”—into pursuing her across the glittering snow. Wary of deception, Conan nevertheless shunts his misgivings to the side and surrenders to his lust and confusion.

Part III of the Frozen Faith storyline, this episode is entitled “Gods in the North.” This is, of course, the alternate title of a Robert E. Howard Conan story better known as “The Frost-Giant’s Daughter.” This single issue presents the entire narrative of the Howard short story, making the two previous issues an original prologue for the adaptation and leaving the forthcoming issue #16 as a coda.

When interviewed about Howard adaptations within the Titan Comics Conan the Barbarian series, Jim Zub repeatedly stated that he didn’t want to be a “cover band” rehashing the hits, but that stance appears to have evolved over time, with Zub later stating “I didn’t want to explore Frost-Giant’s Daughter material unless there was something fresh and exciting we could bring to the mix…” in a newsletter post. Whether or not this augmented adaptation experiment has been a success will be ultimately determined by the final issue in the Frozen Faith arc, but I find myself ambivalent.

Excellent as always, the included essay by Jeffrey Shanks provides valuable context regarding the history of “The Frost-Giant’s Daughter,” both the original prose story and its comic adaptations. As Shanks points out, there have been three previous comic adaptations of the story, most recently in the 2004 Dark Horse Comics Conan. Are the original scenes and new characters presented here enough to justify yet another adaptation of “The Frost-Giant’s Daughter”? I’m torn. As a Howard fan first and foremost, I generally approve of efforts to promote the original stories to Conan the Barbarian comic readers who may not be familiar with the classics. On the other hand, I applauded Zub’s previously stated reluctance to revisit well-traveled ground and have been excited to see his
new, original Conan tales.

Necessity aside, the adaptation of “The Frost-Giant’s Daughter” presented here is largely an effective one. Zub’s prose is as propulsive as always, and the red-haired temptress Atali’s imperious internal monologue is written with relish. Doug Braithwaite’s battle scenes remain strong and dynamic, but alluring women seem like an artistic weakness for him. Braithwaite’s Atali is pretty, but not quite on the level that a supernatural siren should be, especially since the plot depends on Conan desperately chasing her into dangerous territory despite exhaustion and injuries. In this reader’s opinion, his scrawny depiction of Atali compares unfavorably to the 2004 Dark Horse
rendition by Cary Nord or even the ones delivered by the other cover artists for the current story
arc.

Bolstered by the strong foundation of “The Frost-Giant’s Daughter,” Conan the Barbarian #15 is the strongest issue in the Frozen Faith arc thus far. With one post-climactic issue remaining, however, it’s difficult to predict where Zub will take the story from here. It’s also not yet clear whether the “The Frost-Giant’s Daughter” retelling is a one-off, with the title returning to original stories, or if other Howard adaptations will appear in the future. Only time will tell, but the Frozen Faith storyline and this particular issue may come to represent a significant transition in the Titan Comics incarnation of Conan the Barbarian.

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REVIEW: Warlords of Wyrdwood by RJ Barker

British Fantasy Society Award winning author RJ Barker returns to The Forsaken Trilogy with its second instalment, Warlords of Wyrdwood. The first in the trilogy, Gods of the Wyrdwood, is an essential pre-reading requirement and a novel I immensely enjoyed reading last year. Barker’s latest immersive epic fantasy is a complex and detailed read, and fans of his writing will not be disappointed by Warlords of Wyrdwood. Fair warning though, in this review I refer back to a significant plot point from the first novel which will be spoiled if you aren’t up to date with the series. If you have yet to read Gods of the Wyrdwood, look away now.

In Warlords of Wyrdwood, we reunite with Cahan, a Forrester and reluctant wielder of a magical power called a cowl. A solitary figure, through his own choice, for much of his life, Cahan now finds himself leading the people of Harn into the Wyrdwood for their own protection. Although they were victorious in their rebellion against the forces of the Rai, their village was destroyed in the battle, and they have no home left to defend. Cahan knows the Wyrdwood as well as anyone can, and without him, they would surely be helpless against the dangers lurking in the forest. But there is a corrupt magic in the Wyrdwood, a dangerous decay that Cahan is unnaturally drawn to. Can he keep the people of Harn safe from this new threat, the Rai who are pursuing them, and the omnipresent dangers of the Wyrdwood?

There is a brief synopsis of the first novel at the start of Warlords of Wyrdwood and this is extremely helpful in reminding the reader of the events of the first novel. Like Gods of the Wyrdwood, this is a long and complicated novel, and the reader enters a fully formed world. It took me a while to get fully acquainted with this world the first time around, and I felt similarly off kilter for the early chapters here. Barker’s world is richly detailed, but I had to work my brain to slip back into it and remember all the different connections between characters and the pantheon and magics of this world. That is not a criticism of Barker’s writing; this dark tale is not meant to feel cozy, comfortable, or familiar the way returning to some worlds can feel. It is after all, mostly set in a very weird wood.

In some way though, the Wyrdwood is slightly less weird than it seemed before because this is the second novel in the trilogy. The reader is more aware of its potential risks, even if the people of Harn are unaware of them, because they know what Cahan and Udinny went through in Gods of the Wyrdwood. But that is only one area in which the action of Warlords of Wyrdwood takes place, and the new settings are great unfamiliar realms to sink our teeth into.

I enjoyed returning to some of the characters from The Gods of the Wyrdwood and meeting new ones here. My standout favourite character from the first novel was Udinny, so I was a little concerned about how I would find this next instalment without her. I need not have worried, because (among other reasons) Barker’s characters continue to drive his writing. All of them are nuanced and interesting to the reader. Even those I did not like as much; I was still engaged with the chapters from their perspective and enjoyed reading their parts of the novel. Ont’s chapters and his growth in Warlords of Wyrdwood were a perspective I particularly liked reading.

From about the halfway point of Warlords of Wyrdwood, it took off for me, so this does begin as a slow-burn novel in terms of action. Again, this felt necessary due to the world’s complexity, as well as getting acquainted with the different POVs to set the reader up and ensure they are fully embedded into the story. But that did mean that I found the first half of the novel a bit of a slog to read. Sticking with it paid off, and the second act of Warlords of Wyrdwood was fantastic.

Barker has many twists and turns in the plot of this novel, and it was, overall, a good read and a solid second novel in the trilogy. Barker is a favourite author of many, and Warlords of Wyrdwood is a fine example of his talents – he is one of the few authors who always make me feel like their world is completely and entirely original. Thank you both to RJ Barker and the team at Orbit for sending over a review copy of Warlords of Wyrdwood.

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REVIEW: Warp Speed Warriors by Dragonforce

Warp Speed Warriors is an album by Dragonforce that fully embraces the somewhat zany image the British power metal band has cultivated over the years. There’s songs dedicated to The Legend of Zelda, Warhammer 40K, Bayonetta, video gaming in general, and Starship Troopers.

There’s some slightly more serious songs amongst the work but these are not going to be what compels fans to purchase this album. Instead, it is probably the kitsch and homages to popular media products that its fans are already fond of. As many of these properties are squarely within Grimdark Magazine’s purview, I think Warp Speed Warriors is something that will appeal to a lot of the metal heads among our fanbase.

“Astro Warrior Anthem” opens up the album and is one of the Warhammer 40K homages. It starts off with a slow synthesizer beat and then moves into the band’s usual guitar riffs. It’s a perfectly serviceable war song but not my favorite song on the album. By contrast, I think “Power of the Triforce” is a much better song from both a storytelling as well as musical view. It’s bouncy and peppy as befitting a metal homage to The Legend of Zelda. It doesn’t reference any specific game but more elements from the entire series.

“Kingdom of Steel” is a song that has no clear homages but is a song dedicated to the warriors of fantasy (and possibly real life). It is the slowest song and focuses more on the vocals over guitars, which isn’t a bad thing and gives the song a distinct identity lacking from some of the other works. Warp Speed Warriors definitely benefits from it. “Burning Heart” isn’t a cover from Rocky IV and I actually kind of regret that it’s not. It’s a return to the ultra fast guitar riffs but suffers from a serious problem, it’s basically “Through the Fires and the Flame (We Carry On)” with only slight modifications.

By contrast, I think “Space Marine Corp” will probably be the standout song of Warp Speed Warriors. It is a heavy metal parody of Warhammer 40K that’s a lot sillier than the “Astro Warrior Anthem” and a lot more fun. It uses a military march and Marine shouting to great effect. Warp Speed Warriors is never better when it embraces the silly. “Prelude to Darkness” is, by contrast, really good but as an instrumental work, it lacks a lot of the lyrical humor of other titles.

I mentioned the “Killer Queen” song was inspired by Bayonetta but is a lot less direct an homage than “Power of the Triforce.” Still, it’s a strong story behind a kickass woman doing kickass things. The album has two versions of “Doomsday Party”, which is a cyberpunk story about a party at the end of the world. The first is okay but is utterly blown away by the female guest star, Elize Ryd (lead of Amaranthe), version. Finally, I give props to “Pixel Prison” and “Wildest Dreams” (cover of the Taylor Swift song) that are just enjoyable.

In conclusion, it’s a very solid album that occassionally sounds a little too much like previous Dragonforce works. Still, I recommend it to anyone who is a fan of any of the properties represented here.

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Mental Health in Fantasy and Science Fiction: A Changing Landscape

Mental health has become more important in public discourse and creative arts in recent years. It has been explored in speculative fiction to varying degrees throughout history. Fantasy and sci-fi bring us stories full of galactic warfare, epic battles, magical quests, and worlds brimming with imagination. However, it is often the smaller stories that capture our hearts and force us to form connections with the characters toiling in these difficult lands. They allow the time and space to explore deep and dark themes and get to the crux of what makes humans tick. With this can come an exploration of mental health, something that is handled differently by writers across generations.

Fantasy, with its roots in myth and folktales, has been a powerful way of telling stories that deal with various psychological conditions. Grimdark is capable of putting characters through trauma. At times, characters struggling with their mental health have been used in villain roles. Stigma around mental health led to villains having a mental health disorder as a shortcut to explain some atrocity they were committing. Portraying such issues in a cliched and discriminatory way creates myths around mental health issues and have a negative impact on people searching for representation and understanding. Films and books have, at times, been thoughtless with the way they handle such issues as schizophrenia and multiple personality disorder to the point where many in public started to believe that they were one and the same. Often mental health disorders are written as the reason for violence in stories. Thankfully, there have been writers who have treated mental health with respect.

We’ll start with a story almost all fans of fantasy will know: Lord of the Rings. Both in the books by Tolkien and Peter Jackson’s masterpiece of a film trilogy, mental health is treated with respect as the characters behave in ways similar to how one would act if affected by grief and trauma. With the story written following the horrors of two world wars, Frodo’s inability to return to normality following the effects of his journey to Mordor is similar to veterans returning home from war and being unable to get back into normal roles and routines. Some would see this as a sign of post-traumatic stress disorder and it ends on a bittersweet note as Frodo helps saved Middle-earth but is unable to enjoy the fruits of his labour.

Masculine characters in the story are strong and brave but they also weep when struck with grief and they need the support of their friends to get through difficult times, as seen following Gandalf’s battle with the Balrog in Moria. Tolkien writing is laced with warnings of the pressures of power and rule, with many characters in such positioning showing the signs of stress and being unable to win the battle against it. Denethor, Isildur, and many other rulers, including the Dwarven Lords, are shown to crack under the pressure of power whilst King Theodon is able to break through his magic-induced depression with the help of his friends, family, and allies. It is subtle, but the message is clear.

On the other hand, George RR Martin’s land of Westeros in Game of Thrones is littered with a lack of understanding of mental health which suits the medieval setting, with characters acting in ways that others just call ‘mad’ as they are unable to comprehend what is actually happening. Again, it is often those in power who suffer with the Mad King Aerys II Targaryen one such example.

With a clearer understanding and research around mental health, writers and production companies are becoming more confident with displaying mental health in a respectful way. A great example of this is the Hellblade series by Microsoft and available on Xbox. Ninja Theory, the production company, went to great lengths to ensure they were able to depict the Pict warrior Senua accurately as she suffered from psychosis throughout the game. Senua feels her psychosis is a curse, as people would back in such times, and she hears voices that both help and hinder her as she travels to Helheim, defeating a plethora of monsters along the way whilst battling with her own demons. To properly represent psychosis, the developers spent time with neuroscientists, mental health specialists, and people living with the condition to create an experience for the gamer that was both entertaining but respectful of the condition. Psychosis is not shown as some villainous or heroic trait. Instead, it is part of Senua that she has to battle to deal with to keep moving forward and it allows the game to stand out and feel unique to those lucky enough to have played it. This dedication and understanding of mental health is something that allows writers and developers to create characters that can reach out to a section of their audience who have perhaps felt marginalised and at times upset in the way they are represented and it is a positive move in the right direction for the industry. With the destigmatisation of mental health and the way we are embracing support and understanding, we are opening up more opportunities for people to empathise with characters in ways they never before have.

Over the years, it has been interesting to see the change in mental health attitudes through the lens of Batman’s rogues gallery. Some of the legendary detectives villains have felt one-note at times with a mental disorder attached to them as the explanation for their villainy. The Joker is mad, Two-Face has schizophrenia, The Riddler sometimes portrayed with ASD. But with good writers, there has been more depth to the characters and mental health has been treated with more respect which is important in stories where the protagonist is a grown man (and billionaire) still dealing with the grief of his parents’ murder by dressing up as a bat and beating people up. In The Dark Knight, Harvey’s Dent’s Two Face villain is shown to snap and start killing people when he is pushed to an extreme by the devious Joker. Batman even stops Harvey from killing a vulnerable man taken from an asylum who has been manipulating into following the Joker. This focus on vulnerability is important and is treated with more depth in Todd Phillips’ Oscar winning Joker movie. This is as it shows what happens in a society where vulnerable people are not offered the support need. Whilst it takes this to the extreme, it is used as a message to the audience that we are all human and it is only by helping the one another that we can improve the world around us. Whilst The Dark Knight, Joker, and Hellblade exaggerate issues and events through a fantasy lens, they all draw our attention to important issues and allow for teaching moments for the audience in a world where we hope that the stigma around mental health no longer exists.

The powerful platforms offered by fantasy and sci-fi can be important for the destigmatisation of mental health and can improve representation. It is important to recognise traits of yourself in the world around you and in all forms of media, and that could be someone playing Hellbalde who recognises the signs of psychosis. It could be that person struggling to connect and questioning things about themself as they watch Blade Runner can see the doubt in Harrison Ford’s eyes. It could just be an understanding that people around you may not be the same after going through a traumatic experience. If reading Lord of the Rings helped you with that, then it is an incredible thing. Stories are important for all people and it’s great to see that matters in worlds of androids, dragons, wizards, and interstellar travel.

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REVIEW: The Daughters’ War by Christopher Buehlman

Last Updated on October 17, 2024

Christopher Buehlman takes readers back a few decades from his first novel The Blacktongue Thief in this thrilling and dark prequel, The Daughters’ War. We follow Galva, known affectionately by her brothers as Galvicha, a soldier in an all-female warrior unit called the Knight Ravens. Accompanied by their corvids, large war-birds, created and magicked to fight against goblins, Galva treads through war-torn cities to protect other Kynd (humans) against their common enemy, often referred to as ‘Our Foe’. This is not a story on why and how a war has come about, nor is it about how to win this particular war. Instead, we follow the chronicle of one soldier’s experience, and how she managed to survive such a long and bloody campaign against an alien species that has whittled down civilisation immensely, to the point of her having to take up arms.

Whilst I have yet to pick up The Blacktongue Thief (which I most certainly will, after reading this), I have been told that it follows a quest; some type of adventure. Galva’s memoir is far from this. There is no clear plot line holding the story together, which some readers may find jarring, but I found completely refreshing. We are taken through Galva’s memories, narrated to us as if we were a close friend or family. Told from a first-person perspective, Galva’s recollection of the war is graphic and gruesome. When she is unable to find the words to narrate such visceral memories, or simply does not remember them, she presents us with extracts from her younger bothers journal, and sometimes letters from others. I loved this narrative switch,  it allowed us to read from multiple voices in the war, who are experiencing it in vastly different positions. While on the theme of narration, Galva’s is simply exceptional. She has an incredibly distinct voice, which makes her all the more endearing to read from the perspective of.

Galva is merely 20 years old, one of the youngest amongst her siblings, of which we meet three of. Each hold a title at court, or are present within the capacity of war. Coming from a noble family, Galva finds herself encountering her brothers multiple times throughout the war period, due to their positions within society. Galva, however, is the only soldier amongst the bunch and the only one who actively participates in the battles. Due to their status as nobility, Galva’s decision to join the Knight Ravens was a precarious one, and you can often see the underlying consequences of her decision to participate in the war effort in her interactions with her brothers, as well as others’ perceptions of her.  She describes embracing them all upon seeing them, with the knowledge that it could be the last time she ever will:

“… and the four of us embraced. I would have rather this had been done in private, but whether I like it or not, dom Braga is a political house, so the sight of three sons and one odd daughter, serving the king under arms is a powerful thing.”

Anyone with siblings can testify that the raw emotion Buehlman is able to emit in the way he writes the family dynamics between Galva and her brothers is astonishing. He fleshes out every emotion; joy, pride, protectiveness, anger, betrayal and just sheer annoyance so perfectly well that I almost felt a part of the family myself. This was undoubtedly one of my favourite storylines within the book.

I couldn’t write this review of The Daughters’ War without mentioning the war corvids, who are sensational characters; giant eagle-like birds, with enough comprehension to understand who, when, why and what to attack, paired with pure animalistic instinct and the kind of empathy that is often beaten out of a solider at war. They made incredible partners, as well as weapons, and Galva and her two corvids, Bellu and Dalgatha, held a bond so special that it rivals any other animal companionship I’ve read in fantasy.

The story is simple: goblins are evil, and they lack the nuance that many antagonists in fantasy do; which in turn makes them the worst type of villains. They kill for the sake of it, with no desire for anything beyond violence. Many of the scenes were harrowing, and the details of their actions are enough to make any seasoned grimdark reader prickle.  The goblins are not the only villains in this story however, which was a slow turning point in the story that I was utterly entranced by. In a war against goblins, Beuhlman suggests that sometimes, the worst villains can be found closer to home.

At its heart, The Daughters’ War is about grief, loss, and the mercy of companionship. Buehlman is a master of character voice and I very much look forward to picking up his previous work, and anything else he decides to create in the future.

Read The Daughters’ War by Christopher Buehlman

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The post REVIEW: The Daughters’ War by Christopher Buehlman appeared first on Grimdark Magazine.

REVIEW: The Daughter’s War by Christopher Buehlman

Christopher Buehlman takes readers back a few decades from his first novel The Blacktongue Thief in this thrilling and dark prequel, The Daughter’s War. We follow Galva, known affectionately by her brothers as Galvicha, a soldier in an all-female warrior unit called the Knight Ravens. Accompanied by their corvids, large war-birds, created and magicked to fight against goblins, Galva treads through war-torn cities to protect other Kynd (humans) against their common enemy, often referred to as ‘Our Foe’. This is not a story on why and how a war has come about, nor is it about how to win this particular war. Instead, we follow the chronicle of one soldier’s experience, and how she managed to survive such a long and bloody campaign against an alien species that has whittled down civilisation immensely, to the point of her having to take up arms.

Whilst I have yet to pick up The Blacktongue Thief (which I most certainly will, after reading this), I have been told that it follows a quest; some type of adventure. Galva’s memoir is far from this. There is no clear plot line holding the story together, which some readers may find jarring, but I found completely refreshing. We are taken through Galva’s memories, narrated to us as if we were a close friend or family. Told from a first-person perspective, Galva’s recollection of the war is graphic and gruesome. When she is unable to find the words to narrate such visceral memories, or simply does not remember them, she presents us with extracts from her younger bothers journal, and sometimes letters from others. I loved this narrative switch,  it allowed us to read from multiple voices in the war, who are experiencing it in vastly different positions. While on the theme of narration, Galva’s is simply exceptional. She has an incredibly distinct voice, which makes her all the more endearing to read from the perspective of.

Galva is merely 20 years old, one of the youngest amongst her siblings, of which we meet three of. Each hold a title at court, or are present within the capacity of war. Coming from a noble family, Galva finds herself encountering her brothers multiple times throughout the war period, due to their positions within society. Galva, however, is the only soldier amongst the bunch and the only one who actively participates in the battles. Due to their status as nobility, Galva’s decision to join the Knight Ravens was a precarious one, and you can often see the underlying consequences of her decision to participate in the war effort in her interactions with her brothers, as well as others’ perceptions of her.  She describes embracing them all upon seeing them, with the knowledge that it could be the last time she ever will:

“… and the four of us embraced. I would have rather this had been done in private, but whether I like it or not, dom Braga is a political house, so the sight of three sons and one odd daughter, serving the king under arms is a powerful thing.”

Anyone with siblings can testify that the raw emotion Buehlman is able to emit in the way he writes the family dynamics between Galva and her brothers is astonishing. He fleshes out every emotion; joy, pride, protectiveness, anger, betrayal and just sheer annoyance so perfectly well that I almost felt a part of the family myself. This was undoubtedly one of my favourite storylines within the book.

I couldn’t write this review of The Daughter’s War without mentioning the war corvids, who are sensational characters; giant eagle-like birds, with enough comprehension to understand who, when, why and what to attack, paired with pure animalistic instinct and the kind of empathy that is often beaten out of a solider at war. They made incredible partners, as well as weapons, and Galva and her two corvids, Bellu and Dalgatha, held a bond so special that it rivals any other animal companionship I’ve read in fantasy.

The story is simple: goblins are evil, and they lack the nuance that many antagonists in fantasy do; which in turn makes them the worst type of villains. They kill for the sake of it, with no desire for anything beyond violence. Many of the scenes were harrowing, and the details of their actions are enough to make any seasoned grimdark reader prickle.  The goblins are not the only villains in this story however, which was a slow turning point in the story that I was utterly entranced by. In a war against goblins, Beuhlman suggests that sometimes, the worst villains can be found closer to home.

At its heart, The Daughter’s War is about grief, loss, and the mercy of companionship. Buehlman is a master of character voice and I very much look forward to picking up his previous work, and anything else he decides to create in the future.

Read The Daughter’s War by Christopher Buehlman

Read on Amazon

 

The post REVIEW: The Daughter’s War by Christopher Buehlman appeared first on Grimdark Magazine.