Adrian Collins's Blog, page 72

REVIEW: Crackle and Fire: An Angela Hardwicke Sci-Fi Mystery by Russ Colchamiro

Crackle and Fire: An Angela Hardwicke Sci-Fi Mystery is one of those rare finds for me as a discerning indie book reader. Basically, it was a random buy. Unlike the majority of my books that I pick up based on word of mouth or reviews online by people I trust, I picked this one up because I saw its cover while searching for cyberpunk detective novels. I am a man of very specific genre tastes and guys (or gals) in fedoras investigating robots as well as cyber crimes is pretty much my jame. I recommend the Bubbles in Space by SC Jensen and Easytown novels by Brian Parker for other books in that vein.

Crackle and Fire isn’t precisely a cyberpunk novel, taking place in what’s more like Planescape’s Sigil from Dungeons and Dragons. Eternity is the center of the multiverse where the cosmic Minders, a bunch of uplifted humans, manage the creation and maintenance of reality. However, it’s generally no different from any other office grind with the rich, poor, crime, and all the usual hustles of a capitalistic society. The fact corporations may design solar systems doesn’t change the fact that its employees are paid almost nothing.

Angela Hardwicke is a former drug addict and present-day private eye as well as single mother. An accountant hires her to investigate a bunch of stolen files from his operation for recruiting agents operating across the multiverse. These might be related to a family of criminals that Angela Hardwicke ticked off earlier in her career when she was still abusing drugs. Angela doesn’t want to take the case but finds herself forced into the job.

Crackle and Fire has a few rough parts but overall makes the correct choice of which element of its sci-fi versus detective noir elements to emphasize. It goes very heavily on the film noir elements and there’s a large number of suspects as well as revelations that deal far more with bad childhoods as well as business deals gone wrong versus cosmic questions. Indeed, this story could have been done in a space station or more mundane sci-fi future without losing much but the oddities of the Minders of the Universe as well as their minions adds an interesting Star Trek’s Q-like atmosphere.

Angela is a great character and I very much enjoyed following her adventures throughout the book. She’s a streetwise but vulnerable character that is only now getting her life back together when she finds herself immersed in a bunch of conflicting stories from her client, suspects, and people who are supposedly her friends. The story has a number of dark twists that I also didn’t see coming, including the ending. The book mixes sci-fi and detective fiction in a way that never fails to entertain.

I actually enjoyed the short story, “The Case of Jarlo’s Buried Treasure” more than the main book and I really liked the main story. It is the Blade Runner-esque tale of an android sentenced to death for murder and Angela trying desperately to find something that will exonerate him before is execution. The story worked well for me and is a tightly written as well as extremely engaging in its characterization. Much more cyberpunk than the main book.

In conclusion, I say that Crackle and Fire is a great introduction to the world of Eternity and its stories. There’s a million stories in the naked city and we get to experience several of them. I also give credit to the writer for the fact that they’re not afraid to have their heroine fail and sometimes fail big. That’s one of the keys to a successful noir tale, IMHO.

Read Crackle and Fire: An Angela Hardwicke Sci-Fi Mystery by Russ Colchamiro

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REVIEW: Creepshow # 2

Creepshow #2 leans into the vibe of delightfully gruesome comeuppance that was a hallmark of the movie series, and its inspiration, the EC Comics titles Tales from the Crypt, The Vault of Horror and The Haunt of Fear.  That is, short, punchy stories that quickly build atmosphere before the inevitable painful ending.

The Man With No Eyes kicks Creepshow #2 in fine style.  Young boy Dan, left much to his own devices by his night shift working father (after his mother has done a midnight run and left the men of the house to foul things up themselves) watches late night television.  The youngsters reading this review might not know what late night television is, what with their Tik Tok and their streaming services and their chillin’ and Netflix’n but back in the day, before the world went to hell in a handbasket (again) you could stay up late (after your parents went to bed to err…sleep) and watch all sorts of delightful nonsense late after the midnight hour.  Usually it was horror, and usually of a cheap and cheerful sort, much like what is presented here.  Because The Man With No Eyes leans heavily into the late night horror vibe – a young, lonely boy, eager for some illicit fun, finds himself trapped in a nightmare that has only one conclusion – and having read it, you’ll rub your eyeballs tenderly to make sure everything is okay with them!

Michael Walsh does triple duty in The Man With No Eyes, as writer, artist and colourist.  The story itself is a little slight, but given the limited page count, that’s perfectly understandable.  In any event, that enables him to distil the story down to its essentials, which is all that we really need.  Latch key kid watches movies well into the morning while daddy dearest is either working the late night shift, or killing his liver at some late night dive.  The fine fellow in the tuxedo who directly addresses Dan from the television may at first be a fever dream, but in Walsh’s hands, it soon becomes a hideous nightmare.  The washed out colour palette Walsh chooses really evokes the cathode ray tube television era, and his use of shadow adds a nice touch of menace.  Creepshow #2 kicks off in fine style with this story.

Second up in Creepshow #2 is Keep It Down.  I had mixed thoughts about this story, written by Dan Watters and beautifully illustrated and coloured by Abigail Larson.  If The Man With No Eyes was slight, then the story for Keep It Down is truly wafer thin.  Not only that, it is a little confusing in the world and setting that Watters has created.  To try to explain it will spoil the fun, but if you do have a read of it, try and disentangle the world that Watters has created.

Either way, if slight, Keep It Down is still entertaining.  Amy has inherited the family ability to hear the dead.  While echoing The Sixth Sense, Amy’s predicament is less horrifying than poor young Cole Sear, it is equally as annoying.  Because it turns out the spirits that visit her like nothing more than to chat about life, the afterlife, and everything in between.  At first Amy is quite accommodating, happy to hear these tales as she goes about her daily life.  But as with anything bright and shiny new, it swiftly becomes a grinding, exhausting process that sends her over the edge.  Scissors and ears come to a disgusting intersection, and soon Amy discovers that not being able to hear anything at all isn’t the best place for her to find herself.  To say more would be to ruin the ending, but the final line is one of the funniest (if corniest) things I’ve read all year and helps make Creepshow #2 a winner.

So, Creepshow #2 is something of a mixed bag, but overall, a winner.  Great artwork in both stories carries the reader smoothly over any plotting issues that present themselves.  The stories move along at a great clip, and there are some truly spooky visuals and horrifying imagery that linger in the mind.  It’s interesting that both stories rely on a person’s senses as being their downfall.  No doubt in future issues there will be stories featuring rogue tongues or nerve endings that jangle excruciatingly painfully in the night!

3/5 stars.

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REVIEW: No Safe Haven by James Lloyd Dulin

No Safe Haven is the second volume of James Lloyd Dulin’s anti-colonialist dark fantasy series, Malitu. I will keep this review completely spoiler-free for readers who have not yet started the series.

No Safe Haven picks up immediately following the conclusion of Dulin’s debut novel, No Heart for a Thief. As in the first book, there are two main protagonists: Kaylo, an aging thief and spirit dancer, and Tayen, a fourteen-year-old girl on the run from enemy soldiers who murdered her family. While Tayen recognizes Kaylo as a legendary hero, Kaylo is much harsher on himself, feeling personal responsibility for the war between his homeland of Ennea and the colonialist Gousht Empire. Despite his initial reservations, Kaylo becomes an adoptive father of sorts for Tayen, serving as mentor and guardian for the orphaned girl.

As in No Heart for a Thief, No Safe Haven is told on two timelines: a present-day narrative centered on the relationship between Kaylo and Tayen, and a flashback narrative where Kaylo recounts his backstory which may hold some important lessons for his young protégé.

My main criticism of No Heart for a Thief was that the story felt off-balance between the two timelines. As soon as I felt fully invested in the present-day narrative, the action switched to the past, with Kaylo’s backstory taking up most of the remaining page count. I’m happy to report that James Lloyd Dulin achieves a much better balance between the two timelines in this second volume of his series.

However, the dual timeline format still did not work for me as well as I had hoped. The present-day narrative in No Safe Haven mirrors many of the key thematic elements from Kaylo’s backstory. I know this is intentional, as Kaylo’s story is meant to be didactic for the young Tayen. However, the parallels between the two timelines made the present-day narrative feel a bit repetitive and predictable.

There is a strong anti-colonialist and anti-racist message to the Malitu series, which works well whenever it comes to the forefront of the story. Unfortunately, No Safe Haven focuses more on Kaylo and Tayen’s anger management issues rather than the larger external conflict. I would have preferred a better balance between these introspective aspects of the novel and the greater outward conflict with the Gousht Empire.

Although No Safe Haven didn’t work as well for me as No Heart for a Thief, there is still lots to love here for fans of thoughtful character-driven fantasy with a socially conscious message. The series will continue with the third volume, Only a Grave Will Do.

3/5

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REVIEW: The Temple of Fortuna by Elodie Harper

The Temple of Fortuna ends Elodie Harper’s trilogy about Amara, an enslaved prostitute in Pompeii. These books are thoroughly modern, looking at self-determination of women in a society known for its patriarchy. Most of all, Amara is a survivor. This makes her a great leading lady, complex and selfish, manipulating those around her to achieve her goals and ensure her survival.

In The Temple of Fortuna, we leave behind the shores of Pompeii for Rome. Amara has the support of a new patron, strong relationships with fellow courtesans in positions of power and a new life, far from the brothel – and far from Felix, the pimp who runs it. Only one thing is missing in this new life: her daughter. And so she is drawn back to Pompeii in 79 AD.

As readers, we know what’s coming. We have been anticipating and dreading this moment since the beginning of The Wolf Den. Harper manages to write about the infamous eruption of Vesuvius in dry prose, keeping the focus on her cast of characters rather than the sensationalist event itself. The dread is palpable, and the ensuing chaos brings out both the best and worst in people.

Here, more than in the previous books, we see Amara’s true nature as a survivor. She takes what she can, and fights to make the best of whatever situation she currently finds herself in. That makes for interesting and fast reading, with twists that – while not completely unexpected – bring anticipation and tension to the reading experience. Arguably the best element of The Temple of Fortuna is the way we get to see familiar characters take on new roles. It was great to spend more time with Julia and Livia, two women living together in a sapphic-coded relationship and Britannica, who goes from prostitute to gladiator. These are just two examples of many more, but these examples show Harper’s attitude to gender roles well. Taking what is an utterly modern narrative using contemporary language, she manages to show the parallels with issues we still have to deal with today.

This can be frustrating or exhilarating by turns. The Temple of Fortuna is a strong book, but it is not a perfect one. The contemporary language seems jarring in a few scenes. Amara’s desire to thrive sometimes overrides what may be a more logical path. Her choice will always be freedom and self-determination over anything – or anyone – else. Still, being frustrated with her and her choices is the mark of a well-written character and makes you root for her throughout the series, even when the reader doesn’t agree with her choices.

The Temple of Fortuna is a fitting conclusion to an iconic series. Bringing ancient Pompeii alive in a palpable way, combining the seriousness of historical fiction with the fuck the patriarchy energy of mythological retellings, Elodie Harper had created a remarkable, unique series.

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REVIEW: The Shadow Casket by Chris Wooding

This novel is one of those rare and wonderful occasions when the sequel of a top-drawer fantasy epic matches and at times exceeds its predecessor. Suffice to say that The Shadow Casket, follow-up to Chris Wooding’s epic and stellar fantasy debut The Ember Blade, must be one of the best sequels I’ve picked up in a while. This is no mean feat, particularly when one considers the rave reviews that The Ember Blade picked up around the traps following its release. To my mind The Ember Blade remains the most vivid and pulsating fantasy novel I’ve ever read.

By way of further background: The Ember Blade recounts how an Ossian boy, Aren, finds himself the unwitting member of a fellowship seeking to throw off the yoke of Ossia’s coloniser and oppressor: the Krodan Empire. This fellowship comes together through a series of unlikely and highly dangerous episodes, and consists of some unforgettable characters in epic fantasy, including the fanatical freedom fighter and never say die rebel Garric, leader of an ancient brotherhood (or something like that) sworn to defend Ossia, called the Dawn Wardens; then there’s also the heavily tattooed Grub: an unnerving but increasingly hilarious cutthroat, pickpocket and street urchin, a brilliant character who pertains to an interesting race called the Skalds. Other members of note include Aren’s childhood friend the lowborn Cade, as well as the enigmatic druidess Vika and the tearaway archer and Aren’s growing heartthrob Fen, among other highly interesting and beautifully realised characters.

The Ember Blade culminates in a daring and extremely tense attempt by Aren and his fellows to steal the ember blade, long regarded as a symbol of Ossia, from the Krodan Empire. There are unforeseen and devastating consequences to their attempt to steal off with the blade, although most members of the fellowship survive the ordeal and subsequently declare themselves the Dawn Wardens.

The Shadow Casket, the long-awaited sequel, picks up three years after the blade is reclaimed for Ossia by the Dawn Wardens, with Aren and his comrades still eluding the Krodan Empire yet unable to spark off any meaningful revolt in lowland Ossia. Their stealing of the blade (which caused the death of the Krodan Emperor’s son) also renders the Krodan oppression of Ossia far more brutal, although the Krodans are stretched, chiefly because of their ventures in other countries beyond Ossia. The Dawn Wardens decide to venture north of Ossia to a highland region called The Reaches, in a desperate and seemingly impossible attempt to unite the country’s highland tribes in rebellion against the Krodans, while also securing a foothold in their country which they are seeking to liberate.

The plotline might at first seem linear and straightforward enough, however nothing could be further from the truth. Wooding is a boss when it comes to keeping the reader guessing, while also throwing in unexpected plot twists when you least expect them. The book also contains a stronger Grimdark element than the last outing, since the characters are faced with starker choices and greater odds. This development goes hand in hand with the main three characters Aren, Cade and Fen being older than they were in the first instalment, so that you have three evolving bildungsromans enmeshed in a liberation struggle that grows more tense and desperate with each page turned, making the novel a stunning sequel to The Ember Blade.

The development of older characters like Vika, Harod, Mara and Klyssen is also simply sublime, as breathtaking as the world described by Wooding. Another great feature is that Wooding emulates and at times even exceeds the likes of GRR Martin when pulling the rug out from beneath the reader’s feet, since certain characters meet their demise when you least expect it. The extreme danger and levels of sheer terror in this second instalment somehow exceed that contained in its predecessor and is all too painfully real.

As happened while I read The Ember Blade, I found myself swiftly immersed in the second instalment of The Darkwater Legacy, with the characters’ motivations always plausible, the writing phenomenal and the stakes growing with each page turned. Readers who enjoyed the first instalment will also take great delight in the new, compelling characters introduced in the sequel, which is on par with anything created by the master of characterisation, Joe Abercrombie, as well as the expansive world-building which matches and at times exceeds (in my view) the classic and genre-defining work of JRR Tolkien.

This is a work which further consolidates Wooding’s growing reputation as a master of the craft. A shout out also goes to Simon Bubb for yet another fantastic reading on the audio version, which provided me with many exciting evenings while walking the dog. My rating is five on five stars for the second instalment of what has a pretty good chance of being one of the best – if not the best – fantasy series of all time.

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An Interview with Mariely Lares

Mariely Lares is a Mexican-American debut autor who has swept us away with her novel Sun of Blood and Ruin. A historical fantasy set in a post-conquest Mexico, full of strong characters, mythology and a good dose of swordfighting and complex relationships, this is one of 2023’s books to watch out for. We had the chance to catch up with her in advance of publication on everything from research and writing to mythology and cultural background for Sun of Blood and Ruin. 

[GDM] Can you pitch Sun of Blood and Ruin in a sentence or two for our readers, please?

[ML] The morally upstanding Lady Leonora doubles as the masked vigilante Pantera in 16th century Spain-occupied Mexico.

[GDM] This is a story that’s clearly drawing on the Zorro narrative. What’s your relationship with the tale like, and what inspired you to craft your own story around it?

[ML] In the 90’s, there weren’t any heroes or role models on TV, movies, or books I could relate to on a cultural level. My choice was a mouse—Speedy Gonzalez with his exaggerated Mexican accent. 

I was nine when I watched Antonio Banderas as Zorro. He made such an impression on me; first of all, he spoke Spanish, like I did. He took down bad guys, and this was not a cartoon but a real person. When you’re that young, you want to be an astronaut, a firefighter, a pilot, because of that feeling of invincibility. What kid doesn’t want to be able to fly and have super strength? Throw on a mask and it’s so easy to imagine yourself as that character. That’s the appeal. I just thought, what if Zorro had superpowers? Who could stop him? This book is a love letter to my 9-year-old self.

[GDM] To me, retellings are more than just a reframing of a familiar tale. They are an opportunity to reclaim a narrative for a society, both through the original story, as well as through the setting of the retelling. Sun of Blood and Ruin managed to really hone in on that, balancing the competing sides of Leonora. Can you share a bit more about your thinking behind this particular setting for the story?

[ML] I grew up in a border town. When I first started thinking about this story, I wanted to learn more about my Mexican heritage and create a female hero navigating two different worlds. I also wanted to explore what it means to be bicultural, to feel like you don’t fully belong to one culture, and how that influences your identity. 

Zorro felt very modern to me in terms of the setting because Mexico gained independence from Spain in the 19th century. Unless you’re a historian, we don’t know what happened from 1500-1800. I wanted to go way back and set the story thirty years after the Spanish conquest of Mexico. This way, we could get an understanding of the early changes that took place, and we could also see the resistance and conflict of the time, especially from a few historical figures. Another thing is that Zorro was born in the New World and was of pure Spanish descent, but we never see him think about who he is or if he considers himself a true Spaniard. I wanted to explore a mixed, more nuanced character in Leonora.

[GDM] The stakes are high in this story, and quite early on, Leonora makes it clear that while others perceive her as heroic, she sees herself as deeply selfish – saving powerful people because the alternative would be worse, not because it’s the right thing to do or because she agrees with what they stand for. Grimdark Magazine’s lifeblood are morally dubious characters, so we loved seeing her be a complex character who is aware of her own flaws. How much of this was intentional and planned, and how much just evolved as you were writing and editing?

[ML] It was completely on purpose. I mean, TV shows like The Boys prove that deeply imperfect heroes are far more interesting. Even the greatest heroes in the superhero genre aren’t flawless. We see Batman has his own demons. Iron Man has to contend with his actions of the past. Even Peter Parker is haunted by the death of his uncle.

Leonora is a character whose core belief is based on confronting the duality inside her to find balance. She is Spanish and Indigenous. Even her different-colored eyes allude to this dichotomy. Because she is a warrior, she has to wage battle against herself. She doesn’t see the world in terms of good and evil but chaos and order, and the Nahuas viewed the earth as slippery, therefore they walked carefully so as not to fall. This is connected to the concept of “nepantla”, living life in the middle or a centered way. Too much chaos is destructive. Too much order is suffocating. I don’t think Leonora has proven just how flawed she can be. More on that in book two, perhaps!

[GDM] Allow me a self-indulgent question – over the course of Leonora and Tezca’s travels, they encounter what I can only describe as a dark take on a ‘mermaid’ – a creature half sea-snake, half human. I’m really curious to hear more on whether this is something you came across in your research or made up for the purposes of the story?

[ML] I love a curious reader! Mexico has its legends of water-dwelling females. One of the best-known Indigenous myths that predates the Aztecs is the Tlanchala. The Tlanchala was worshiped as a water goddess who could be called upon at any body of freshwater. She could use her tail as a pair of legs, a fish tail for swimming, or a snake tail to entice men into the water. Fishermen and hunters would leave gifts for the Tlanchala in exchange for a smooth voyage or a fair catch. She could be vengeful and malicious, like all Nahua gods, but the post-conquest Tlanchana was turned into a European-looking mermaid and was seen more as a demonic creature. There is a sculpture of the Tlanchana in Metepec, Mexico.

[GDM] Can you tell our readers a little bit more about tonalli, the magic inherent in life force? I found it fascinating how it is so connected to being aware of yourself and who you are.

[ML] This is a loaded question that has a simple answer. Tonalli is the vital energy, or life force, found in everything, much like prana, chi, qi, ki, etc. But your questions are very thoughtful! So, I’ll answer in more detail.

Growing up, I was fascinated by how ki works in Dragon Ball, and how Goku was able to level up through training and acquiring a large amount of ki. In Sun of Blood and Ruin, we see that Leonora’s tonalli is linked to her animal double and her socerery. Without it, she has no magic, she becomes sick, and she can die. 

Living a life of integrity is associated with one’s vitality. When the Sword of Integrity glows green, it’s easy to see this. In real life, it’s a lot more complicated, of course. Having integrity doesn’t just mean doing the right thing. It also means being well integrated.

Leonora realizes her tonalli is poisoned because she’s living a double life and these two opposing aspects of herself aren’t working together in wholeness. She says one thing but means another. She does one thing but wants something else entirely. She’s not living authentically. Tonalli doesn’t flow properly as a result, and this creates a whole host of issues. Leonora eventually comes to this understanding. She is who she was and who she is now as well as who she will be. What you don’t know won’t hurt you? False. If Leonora is not aware of herself, she doesn’t know how out of balance she is, so how can she be in balance? And if she doesn’t know this, how can she be aware of her power, which is inherently who she is? We already know tonalli loss leads to death. Leonora can manipulate tonalli in book one, but she has a ways to go in terms of tonalli control and its possibilities. 

[GDM] You wrote some great fights in Sun of Blood and Ruin. How did you approach writing those scenes, and do you have any advice for budding writers trying their hand at them?

[ML] Thank you! If I can see the scene in my head like a movie, it’s easier to pen that to paper. I try to picture a great battle like the Battle of the Bastards or Avenger’s Endgame. How do they make me feel? They hype me up. If I’m reading a battle sequence and all the narrative is doing is describing every punch and parry, that’s too boring to me. I need to be dropped into the scene like Pegman in Street View on Google Maps to be emotionally invested. I need to know that Jon Snow can fail. In Avenger’s Endgame, there’s a congregation of heroes and one bad guy. But he’s Thanos! We understand the stakes. I need to care about what’s happening. Much as I love some good action, I won’t just write a sequence for superfluous sake. There has to be a reason for the fight. It has to set up a plot point or deliver some emotional punch. If nothing else, it needs to be fun.

[GDM] What were some of the obstacles you faced when researching for Sun of Blood and Ruin? I imagine there were a lot of foreign accounts, but little indigenous material?

[ML] Oh, yes. Multiple contradicting and inconsistent accounts, way too many Nahua creation myths, and conflicting sources. Even the word “Aztec” is a predicament; technically, we are referring to either the Mexica tribe who suffered at the hands of the Spanish conquistadors, or the collective group who speak Nahuatl, the Nahua people or Nahuas. In the early stages of drafting, it was difficult looking at history through an Indigenous lens, rather than a Eurocentric one, because narratives from the latter are what’s more widely available.

[GDM] What is your writing process like? Do you have a set schedule you work to, or write when the inspiration strikes? Do you plan meticulously or let the story drive?

[ML]: When I started writing the book in 2017, I was (obviously) younger, had more time, less responsibilities. I wrote consistently but at leisure, and the story mostly took shape on its own following my research. I’m not a plotter at all. Most of the time, I don’t have a clue what’s going to happen. Somehow, it works out. That’s what makes it exciting for me. These days, I have to at least be able to tell my publisher the gist of a sequel because that’s what’s expected of me. I don’t have a schedule per se, but I do need to be more intentional about writing because I have two full time jobs and I’m a very slow writer. I can be very obsessive about finishing a book though.

[GDM] Sun of Blood and Ruin is your debut – and I’m really excited for everyone to read it and fall for it. What are some of your hopes and dreams for the book in the next year or so as it makes its way in the world?

[ML] I hope readers find enjoyment and escapism, in true Zorro fashion. I hope Mexican, Latin American, and Indigenous readers feel seen and celebrated. Mostly, I hope that all readers find value. I would love to sell Spanish rights to Mexico and other Latin American territories (yes, yes, Spain too), so my mom can read. Of course, to reach more readers, but mainly my mom. I adore this world and would welcome returning to it in any way shape or form past the duology.

[GDM] To finish up, what books or other media have been inspiring you recently?

[ML] I have to give a shout-out to Blue Beetle just because I watched it recently and became an instant favorite. It’s such a good film. The fact that the hero is Mexican American is just icing on the cake.

Read Sun of Blood and Ruin by Mariely Lares

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REVIEW: Pariah: Nexus

In the three episode Warhammer 40,000 animated series Pariah: Nexus from WarhammerTV, the Ultramarines and the Guard have already lost the southern hemisphere of Paradyce to the Necrons, and the landscape sits a charred wasteland coated in the bodies and mechanical detritus of massed defeat. A lone Sister of Battle and an Imperial Guardswoman make their way through the land in search of hope. Elsewhere, the lone survivor of a failed reinforcements crash, Sa’kan of the Salamanders space marines chapter, happens across a small family and a priest hiding in a crypt. It becomes his mission to save them, only, he’s already being pursued by a xenos sniper hellbent on his death.

Pariah: Nexus has a lot of awesome going for it, with the writers delving in to what it is to be an Imperial citizen in the worst of times, the great harm of zealotry to the masses by those charged with protecting us, the ever-interesting and very human Salamanders chapter, and showcasing one of the coolest foes out there: the necrons. I really enjoyed the story arc of Sister Danica in particular, as we explored the often cardboard cut-out style approach to writing the elite zealots of the Imperium’s military forces, and the way in which zealotry ruins your humanity. The Imperial Guardswoman that partners with Danica starts as a character to showcase faith wavering and being upheld by zelotry at first, and then morphs into a lens into the damage it does to people. I thought this was incredibly well done, and played off well against the Salamander space marine character–with the Salamanders being renown as the most human and empathetic of the space marine chapters.

I also need to give a shout out to the author team for that ending. Every grimdark fan is going to love this one. They have absolutely nailed the plight and brutality of this universe in just a few short seconds. This series is up there with the best stuff to have come out of WarhammerTV; a close second to Astartes, for me.

Pariah: Nexus is the kind of animation and storytelling that you sign up to WarhammerTV for. It’s beautifully rendered and put together by the animation team, and the cityscapes of destruction take me back to what I imagined as a kid when I was cutting up foam to create destroyed walls on my gaming tabletop. Partnered up with the writers at Storyforge, who have written a magnificent piece of Warhammer 40,000 fiction, and you have something you can watch over and over again, and likely find something new to enjoy each time.

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An Interview with Matthew Harffy

Matthew Harffy is an author who has transported readers to vivdi historical landscapes since The Serpent Sword in 2015. His action packed and historically accurate novels excite readers around the world and his latest series (A Time for Swords) is set at the dawn of the Viking Age and follows the journey of Hunlaf, a monk-turned-warrior who witnesses the infamous attack on Lindisfarne.

Matthew Harffy’s latest novel is A Day of Reckoning and it continues Harffy’s reputation as a master of historical fiction as Hunlaf’s journey takes him to Islamic Spain. It is my pleasure to speak with Matthew and discuss his influences and challenges in developing these engrossing stories.

[GDM] A Day of Reckoning takes Hunlaf’s story to Islamic Spain, what was it that inspired you to take this medieval tale to this location and is it something that you had planned for a while?

[MH] I don’t really plan that far ahead, if I’m honest.

But there are several reasons why taking Hunlaf and his friends to Islamic Spain made sense. Most importantly, al-Andalus and the Emirate of Cordoba were becoming real political, economic and military powerhouses in Europe, so if Hunlaf is to travel across the known world, to miss out Islamic Spain would be quite strange, especially given the wealth and depth of learning that resided there and Hunlaf’s insatiable appetite for knowledge.

Another reason for wanting to take the story south to the Iberian peninsular was that I lived in Spain for over a decade, so I have visited some of the locations. I have an affinity for the country and welcomed the chance to explore it anew through the eyes of Hunlaf.

Finally, of course it was the story itself that dictated where Hunlaf would visit next. Without giving too much away, the conclusion of book two in the series, A Night of Flames, made it clear that al-Andalus would be Hunlaf’s next destination.

[GDM] What inspired you to create a character that starts as a monk and grows into a warrior?

 [MH] I’ve read quite a few stories of old men recounting their lives of adventure. The great Bernard Cornwell himself uses this technique in his Warlord Chronicles that tell the story of King Arthur from the perspective of Derfel Cadarn. At the time of writing the story Derfel is now an old monk looking back on his time as a warrior. I like that conceit for telling a story in the first person, of having an old man penning the tale of his life, and, of course, in the early medieval period most people who could write were monks or other ecclesiastical figures, so it makes sense to have Hunlaf be a monk. However, I liked the idea that instead of being a warrior and later becoming a monk, Hunlaf would start life as a studious monk and life would conspire to throw him into a situation where he discovers he has a natural talent for warfare, leading him to make the decision to put his fighting skills in the service of others and, in doing so, turning his back on his vocation, at least until he is older and perhaps unable to continue the warrior lifestyle.

[GDM] What challenges have you come across in researching the historical elements of your stories set in the Middle Ages?

[MH] The challenges in writing historical fiction set in the early medieval period are legion. I think the single biggest challenge might also be the biggest gift to a historical novelist. And that is the lack of real detailed evidence of many of the people and events. That dearth of information is a double-edged sword. It can make it difficult to find what the facts are, and to create something truly authentic feeling and believable, but at the same time it enables me to make up exciting stories, effectively filling in the gaps that historical accounts have left empty. 

[GDM] Many of the interesting characters that you have written grapple with morality, often having to balance violent actions with a dream of something better – what do you find most interesting about writing such characters?

[MH] I think there is a tendency in action and adventure writing to create heroes who are quite one-dimensional. Stronger than anyone else, able to defeat whoever they stand against in battle, and always able to save the day. Some of that goes with the territory of the type of writing. Readers want to have heroes that overcome obstacles and they want a satisfying conclusion at the end of the story. I find that adding other challenges to my characters, perhaps not purely physical, but moral and ethical too, not only makes them more interesting to write and hopefully read about, but adds an extra depth to the stories that perhaps to some extent elevate them beyond the wish fulfilment they can become where the hero can do no wrong.

It is a fine line to give heroes some darkness to their character without turning them into antiheroes. I always want it to be clear that the heroes are just that: heroes. But perhaps having to face up to their inner demons as well as overcome their enemies in battle is partly from where their heroism stems.

[GDM] What are the challenges with writing characters such as Beobrand and Hunlaf as they age over a long period of time in a series? Is this something you have planned out before the first book or something that changes as you are writing?

[MH] As mentioned previously, I don’t really plan very far ahead. I sometimes wish I did, but in reality I look at each novel as a stand-alone story with a beginning, a middle, and an end. Of course, there is in the case of my series, a rich back story for many of the characters as the series progresses, and I have a vague idea of where the overall series is heading, but little more than that before I start each novel.

In terms of the characters growing older, that just seems obvious to me and another way to make the characters interesting. In a novel you want a character to be altered at the end of the book, different from who they were at the beginning. Something about their journey has to have impacted their life in a meaningful way, changing them for better or worse. In a longer series, the changes to the characters due to their experiences and their physical ageing and the challenges posed by that, is a natural extension of those story arcs. I want Beobrand in book nine of the Bernicia Chronicles to be markedly different from the Beobrand who started out the serpent sword as a seventeen-year-old youth. By the events in Forest of Foes, Beobrand is about twenty years older, with countless battles under his belt. He is a father, soon to be a grandfather, and he has an incredibly rich life experience behind him. It would be madness if he hadn’t grown as a person over those years and books. It frustrates me in some long-running series where the protagonist does not change over time. It might make for comfortable consistency for readers, but it seems very shallow and unrealistic to me.

[GDM] Which do you find easier – writing a first book in a series, or a sequel?

[MH] Neither!

Writing any novel is difficult! But I suppose writing a sequel is in some ways less taxing, as you have the backstory already there, with the previous experiences of the characters to draw upon. When writing a stand-alone novel, or the first in a series, you have to create the world from scratch and all of the backstory of all of the characters, which is quite daunting.

[GDM] How has your writing style or process changed since your first novel?

[MH] I don’t know how my writing style has changed since I wrote my first book. With each new book I try to push myself to do something different. With the first few books that meant adding more subplots, or writing from different points of view, trying different ways of misleading a reader, for example. When I wrote Wolf of Wessex I decided I would write it from the perspective of two characters and alternate between those points of view throughout the whole novel. And when I started writing A Time for Swords it was in order to try my hand at writing in first person.

If my writing style has changed at all, I imagine it has simply become more polished, and I probably know instinctively what will and what won’t work.

In terms of my process, the main difference is that now I am writing full-time and have a dedicated office space, so I can focus for several hours each day on writing. When I was writing the first three or four novels I was working full-time in a day job and writing in my free time, which meant I had to learn how to focus quickly and write in small windows of time of perhaps 45 minutes to an hour.

[GDM] Your books deal with what is often viewed as a grim and violent period in history for Europe – your characters have to deal with loss and grief in what can be an unforgiving world. Are there any scenes that you found difficult to write because of this?

[MH] You are right—the early medieval period in European history is grim and violent and that is often reflected in my novels.

I find writing the action and battle scenes relatively easy and it is the part of writing that I enjoy the most. I don’t know what that says about me, as I am actually a pacifist and have never really been in a fight!

The most difficult things to me to write are actually those scenes that deal with people’s emotions and the inner turmoil they often face. Writing about grief is never easy. There is a particularly harrowing scene in The Cross and the Curse which was tough to write, but more than one reader has written to me to say it made them cry, which as a writer is all I could ask for, I suppose. 

[GDM] Which authors do you consider to have had the biggest impact on either your love of historical fiction, or your writing style?

[MH] I’ve already mentioned Bernard Cornwell, but David Gemmell and Conn Iggulden were also hugely influential in my style of writing and subject matter. It would be remiss of me not to mention Larry McMurtry too, whose Pulitzer prize-winning Lonesome Dove is one of the most important inspirations for my writing.

[GDM] Finally, as a primary teacher, I have always loved teaching History (especially Vikings!), if you could travel back in time to any historical period and location, where would it be and why?

[MH] Funnily enough I failed history at school, but perhaps the less said about that the better!

I think if there was any period in history that I could visit and then come back from safely, I would choose to go to witness some of the great mysteries of the past. For example, how about visiting the tomb of Jesus after his crucifixion and seeing what really happened? Or what about the Nazca Lines in Peru? Or the construction of the pyramids? Or Stonehenge? Or how about visiting the site of the first European (Norse) settlers in North America and see what happened to them?

There are so many questions we’ll probably never have the answers to, perhaps time travel would be the only way to solve some of those riddles. Historical fiction is the next best thing, of course.

Read A Day of Reckoning by Matthew Harffy

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REVIEW: Sun of Blood and Ruin by Mariely Lares

Set in post-conquest Mexico, Mariely Lares’ Sun of Blood and Ruin is a fast-paced, smart historical fantasy. It is built around a multi-layered reimagining of the Zorro legend – the masked vigilante, the sorceress with a blade Pantera. Alas, that is not her sole identity. By day, Leonora de las Casas Tlazohtzin is a true lady, set to marry the Spanish crown prince. Weaving together narrative strands of identity, colonialism, indigenous belief and self-determination with swashbuckling adventure, Sun of Blood and Ruin introduces a powerful new voice to the genre.

Leonora is a great heroine to follow. She is headstrong and multi-faceted – and far from flawless. Often confronted with issues of her own making, she is fixing relationships as often as she coasts through. Navigating the constraints of being both Lady Leonora and Pantera is not an easy task, and perhaps one that dominates many of her relationships. It means that the reader misses out on seeing the person behind the mask at times, given that Lady Leonora is as much of a mask as Pantera is to the true Leonora. It doesn’t detract from the strory though, and is a small gripe to have with a novel as entertaining and enthralling as Sun of Blood and Ruin.

Grey morality takes an interesting form here, with a particularly striking passage early on, where Leonora discusses her selfishness illustrates. As Pantera, she intervenes and acts in a way that is seemingly against her own ideals – saving the crown prince from rebels. To her, she acted selfishly to protect him, to ensure a relative stability for the community, over following what might be more aligned with her more general wishes – but which would lead to bloodshed and outright war. Readers may consider this to be right or wrong, but it is a great example for a nuanced character who ultimately makes choices that she herself considers bad choices on a moral standpoint in order to work towards greater goals.

Throughout the story, Mariely Lares weaves in Mesoamerican mythology, on which her magic system is based. Especially in the middle parts, the reader gets to meet a host of elements inspired by these stories – a particular favourite is a mermaid-like creature that appears in a scene. However, most central is the concept of tonalli, life force. A part of every person, derived from the sun, and most often determined by when and where someone was born, tonalli is what needs to be trained and controlled to wield magic. It is strongly linked to knowing who you are, to a deep-reaching self-awareness. Combined with the story’s strong focus on masks and conscious unmasking, it sends a powerful and coherent message to readers to be themselves, to not let others control yourself.

Sun of Blood and Ruin is also full of dry humour, betrayal, a good dose of romance and adventure. In short, everything a reader could ask from a fantasy novel.

Read Sun of Blood and Ruin by Mariely Lares

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Review: Last to Leave the Room by Caitlin Starling

Last to Leave the Room is the new dark speculative fiction by Caitlin Starling, the USA Today bestselling author of The Death of Jane Lawrence, which seamlessly blends science fiction and horror into a slow-building thriller.

Last to Leave the Room opens with Dr. Tamsin Rivers, a corporate scientist who is on the verge of a new breakthrough in communication technology. Tamsin works for the shady tech firm Myrica Dynamic in the fictional Silicon Valley-inspired San Siroco.

The city of San Siroco is sinking for unknown reasons, which may or may not be related to research at Myrica Dynamic. Tamsin discovers that her basement is sinking at a faster rate than the city itself. The plot thickens when Tamsin finds a strange door that has materialized in her basement.

Ever the meticulous scientist, Tamsin develops hypotheses around these strange phenomena, making careful observations and measurements to find a rational solution for these mysteries. But her corporate overlords at Myrica Dynamic constantly peer over her shoulder, making sure that she does nothing to tarnish the company’s image.

Last to Leave the Room suffers from inconsistent pacing. The first part of the book is a slog, with far too much focus on Tamsin’s corporate meetings and domestic chores, all of which seem especially tiresome as told in the novel’s unadorned present-tense narration.

Fortunately, Last to Leave the Room takes off as Tamsin discovers a doppelgänger who appears to be a mirror image of herself. The original mystery of the sinking city is pushed aside as the book’s focus shifts toward Tamsin’s double.

The horror elements of the story build slowly, and I found the novel to be quite engrossing in the latter half, which offers plenty of unexpected plot twists. By the end, the novel is hard to put down.

Last to Leave the Room is at its best when Caitlin Starling focuses on questions of personal identity, including which qualities define us uniquely as individual humans. Tamsin’s treatment of identity recalls that of The Double, Fyodor Dostoevsky’s original masterpiece of doppelgänger fiction. Tamsin follows essentially the same character arc as Dostoevsky’s protagonist in The Double: the main character and doppelgänger begin as friends, but then the protagonist gradually loses their identity to the double. Like Dostoevsky, Starling offers a thought-provoking assessment of identity with no clear answers.

The blend of science fiction and horror around a doppelgänger motif also recalls the movie adaptation of Jeff VanderMeer’s Annihilation. But while VanderMeer considers accelerated mutation within the realm of biology, Caitlin Starling focuses primarily on the physical sciences.

In the end, Last to Leave the Room rewards the patient reader with its unique and thought-provoking fusion of science fiction and psychological horror. However, the novel would benefit from more consistent pacing and a tighter focus on the doppelgänger motif.

3/5

Read Last to Leave the Room by Caitlin Starling

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