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Embers of War #1
Embers of War
The warship Trouble Dog was built and bred for calculating violence, yet following a brutal war, she finds herself disgusted by conflict and her role in a possible war crime. Seeking to atone, she joins the House of Reclamation, an organisation dedicated to rescuing ships in distress.
But, stripped of her weaponry and emptied of her officers, she struggles in the new role she’s chosen for herself. When a ship goes missing in a disputed system, Trouble Dog and her new crew of misfits and loners, captained by Sal Konstanz, an ex-captain of a medical frigate who once fought against Trouble Dog, are assigned to investigate and save whoever they can.
Meanwhile, light years away, intelligence officer Ashton Childe is tasked with locating and saving the poet, Ona Sudak, who was aboard the missing ship, whatever the cost. In order to do this, he must reach out to the only person he considers a friend, even if he’s not sure she can be trusted. What Childe doesn’t know is that Sudak is not the person she appears to be.
Quickly, what appears to be a straightforward rescue mission turns into something far more dangerous, as Trouble Dog, Konstanz and Childe, find themselves at the centre of a potential new conflict that could engulf not just mankind but the entire galaxy.
If she is to survive and save her crew, Trouble Dog is going to have to remember how to fight.
But, stripped of her weaponry and emptied of her officers, she struggles in the new role she’s chosen for herself. When a ship goes missing in a disputed system, Trouble Dog and her new crew of misfits and loners, captained by Sal Konstanz, an ex-captain of a medical frigate who once fought against Trouble Dog, are assigned to investigate and save whoever they can.
Meanwhile, light years away, intelligence officer Ashton Childe is tasked with locating and saving the poet, Ona Sudak, who was aboard the missing ship, whatever the cost. In order to do this, he must reach out to the only person he considers a friend, even if he’s not sure she can be trusted. What Childe doesn’t know is that Sudak is not the person she appears to be.
Quickly, what appears to be a straightforward rescue mission turns into something far more dangerous, as Trouble Dog, Konstanz and Childe, find themselves at the centre of a potential new conflict that could engulf not just mankind but the entire galaxy.
If she is to survive and save her crew, Trouble Dog is going to have to remember how to fight.
411 pages, Paperback
First published February 20, 2018
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7431 people want to read
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Displaying 1 - 30 of 806 reviews
August 4, 2018
Gareth Powell’s new space opera Embers of War is the story of the reformed warship Trouble Dog and her crew. After participating in a terrible genocide that brought an end to a brutal, destructive war, Trouble Dog leaves her sister warships behind and joins the House of Reclamation, an interstellar Red Cross-like rescue organization. With new captain Sal Konstanz and a small crew of medics and rescue workers, Trouble Dog is assigned to rescue the survivors of the touring ship Geest van Amsterdam that crashed on the Brain, a kind of celestial art object fashioned thousands of years before by an unknown species. The Brain lies in a disputed region of space, an it soon becomes clear that someone deliberately took out the Amsterdam, someone unconcerned with the laws that protect ships like Trouble Dog from hostile action.
Embers of War has an imaginative and intricately designed setting, and the rotating roster of POV characters add a diverse set of viewpoints to the action. I appreciated the novel’s concern with ethics and the equitable administration of justice, and its focus on heroes who are there to protect rather than destroy. All too often in space opera, the focus on battle heroics obscures, or at least marginalizes, the body count that naturally accumulates. Though I thought the ending got a little hand wavy after writing itself into a corner, Embers of War is an entertaining and thoughtful piece of action sci-fi.
Embers of War has an imaginative and intricately designed setting, and the rotating roster of POV characters add a diverse set of viewpoints to the action. I appreciated the novel’s concern with ethics and the equitable administration of justice, and its focus on heroes who are there to protect rather than destroy. All too often in space opera, the focus on battle heroics obscures, or at least marginalizes, the body count that naturally accumulates. Though I thought the ending got a little hand wavy after writing itself into a corner, Embers of War is an entertaining and thoughtful piece of action sci-fi.
February 6, 2019
At first, I felt like this was going to be a single-track MilSF with big spaceships and disgruntled warriors, but soon I was very happy to discover multidimensional characters representing a much wider kind of cast than I usually see in these types of novels. Poetry, spies, sentient ships, (reminding me a lot of Leckie), and of course, disgruntled grunts fill these pages.
But do you know what I like the most about this? The ability to escape the world of war into a hard life of altruism, a-la the code of the sea that always helps those who are lost.
How this diverse and interestingly ethical cast of characters come together is a wonderfully plotted and subtly deep universe with great worldbuilding. It's light compared to some Space-Opera but much better than most. I'm reminded of the pacing of Becky Chambers with the very solid military aspects of Marko Kloos.
I can honestly say I was surprised at how much I enjoyed this. Some bits fell into the old Opera groves, but I more than appreciated all the actual divergences. The only complaint I might entertain is the role of the BDO (Big Dumb Objects).
The characters and the idealism within this torturous path of the tale more than made up for that. I should stress that this is rather better than the average Space-Opera, even if it doesn't go all out with the coolness.
But do you know what I like the most about this? The ability to escape the world of war into a hard life of altruism, a-la the code of the sea that always helps those who are lost.
How this diverse and interestingly ethical cast of characters come together is a wonderfully plotted and subtly deep universe with great worldbuilding. It's light compared to some Space-Opera but much better than most. I'm reminded of the pacing of Becky Chambers with the very solid military aspects of Marko Kloos.
I can honestly say I was surprised at how much I enjoyed this. Some bits fell into the old Opera groves, but I more than appreciated all the actual divergences. The only complaint I might entertain is the role of the BDO (Big Dumb Objects).
The characters and the idealism within this torturous path of the tale more than made up for that. I should stress that this is rather better than the average Space-Opera, even if it doesn't go all out with the coolness.
June 23, 2019
Hey, I *like* sentient spaceships. I've devoured all of Banks and Leckie and Asher and others.
And superficially this is similar. It bops along well, with action but also some moral dilemmas and crises. The Trouble Dog is good, Nod is tedious, Clay is a cardboard all-anger-all-the-time, Konstanz is weak but credible, ..
The genocide bit was important to the plot, but I didn't get much out of the brief handwaving about why it was necessary. Probably something like "We saved lives by bombing Hiroshima" - which may be true but let's not argue it here.
So here’s Ona Sudak, galactically-famous poet in a galaxy that shows no sign of any interest in the arts. Poets aren't that famous now, and if they have become so the author needs to tell us why. Also maybe show us a few verses, or at least talk about them. Feh.
Frothing-at-the-mouth Admiral Menderes. Pfui. Not a credible character.
Then we come to the ending. I'm fine with a Big Unexplainable Object, but when it's Bigger On The Inside and is not a TARDIS, we need some more handwaving. When you fill it with a million ships that have ultraweapons, yet have a collective mind much like a strictly-trained puppy, sheesh. Last time I read that concept it was in the teen section of the library, or possibly pre-teen.
This one was just as promising-but-disappointing as Ack-Ack Macaque.
And superficially this is similar. It bops along well, with action but also some moral dilemmas and crises. The Trouble Dog is good, Nod is tedious, Clay is a cardboard all-anger-all-the-time, Konstanz is weak but credible, ..
The genocide bit was important to the plot, but I didn't get much out of the brief handwaving about why it was necessary. Probably something like "We saved lives by bombing Hiroshima" - which may be true but let's not argue it here.
So here’s Ona Sudak, galactically-famous poet in a galaxy that shows no sign of any interest in the arts. Poets aren't that famous now, and if they have become so the author needs to tell us why. Also maybe show us a few verses, or at least talk about them. Feh.
Frothing-at-the-mouth Admiral Menderes. Pfui. Not a credible character.
Then we come to the ending. I'm fine with a Big Unexplainable Object, but when it's Bigger On The Inside and is not a TARDIS, we need some more handwaving. When you fill it with a million ships that have ultraweapons, yet have a collective mind much like a strictly-trained puppy, sheesh. Last time I read that concept it was in the teen section of the library, or possibly pre-teen.
This one was just as promising-but-disappointing as Ack-Ack Macaque.
June 10, 2018
In this space opera there are many sentient races in a loose organization called the Multiplicity with human space referred to as the Generality. Within those is the House of Reclamation, a human-created organization that comes to the rescue of spaceships and their crews in trouble, either through accident or attack. We start the action here following the Trouble Dog, a Carnivore class battle cruiser that was sickened by her role in war atrocities and quit to join the House. The Trouble Dog and her small crew are ordered to the Gallery, a solar system where every planet has been carved/replaced/constructed into enormous Objects. A cruise ship there has come under attack and the House of Reclamation wants to see if there are survivors, but an important passenger on the attacked ship has attracted attention from other powers in human space.
We get multiple view point characters here including Sal Konstanz, the captain of the Trouble Dog, the Trouble Dog herself, Nod, the ship's alien engineer, Ashton Childe who's one of the agents who have an interest in the important passenger and the important passenger herself, Ona Sudak. There's a lot going on here with two separate governments, a non-government organization and fallout from a war that's long over as well as the mystery of the Gallery itself. For all of that, the story moves along at an strapping pace and everything gets resolved fairly quickly with room for sequels. This is a plot and characters that Alastair Reynolds or Peter F. Hamilton would have happily written a thousand-odd pages around.
For all that, I felt the whole thing was oddly light, somewhat in the same way as John Scalzi's stuff feels quite light. Still very enjoyable though, and the authors I'm comparing this too should be telling on quality.
We get multiple view point characters here including Sal Konstanz, the captain of the Trouble Dog, the Trouble Dog herself, Nod, the ship's alien engineer, Ashton Childe who's one of the agents who have an interest in the important passenger and the important passenger herself, Ona Sudak. There's a lot going on here with two separate governments, a non-government organization and fallout from a war that's long over as well as the mystery of the Gallery itself. For all of that, the story moves along at an strapping pace and everything gets resolved fairly quickly with room for sequels. This is a plot and characters that Alastair Reynolds or Peter F. Hamilton would have happily written a thousand-odd pages around.
For all that, I felt the whole thing was oddly light, somewhat in the same way as John Scalzi's stuff feels quite light. Still very enjoyable though, and the authors I'm comparing this too should be telling on quality.
August 15, 2022
3.5 stars. Not quite inspiring or groundbreaking, but very competently and straightforwardly executed military themed space opera sci-fi with many familiar tropes. I'm in no great hurry to read the sequels.
March 4, 2019
4 of 5 stars at The BiblioSanctum https://bibliosanctum.com/2019/03/03/...
Embers of War by Gareth L. Powell is a sci-fi military space opera that has been on my radar ever since it was released last year, but it wasn’t until news of the sequel arrived that I was finally spurred to pick it up. And now that I’ve finished it, I’m kicking myself wondering why it took me so long. This novel has everything I wanted out of the genre and more, and I had a lot of fun reading it.
Following a handful of different characters, the story is set in the aftermath of a bitter and violent war fought in a galaxy rife with political tensions. Disgusted with the part she played, the sentient warship Trouble Dog has decided on a new course for her life, joining the House of Reclamation, an organization that answers the calls of distressed starships, in the hopes of atoning for the atrocities she committed. Sal Konstanz, who once fought against Trouble Dog, now finds herself on the same side as the ship as her captain. Together with their crew of medics and rescue workers, they follow a signal from a downed vessel to a touristy but disputed area of space called the Gallery, a system whose planets have all been carved into gargantuan intricate shapes by an ancient alien race.
Meanwhile, elsewhere in the system is another example of former enemies now working together as allies. Ashton Childe and Laura Petrushka, agents from opposing sides team up to locate a missing poet who was rumored to have been on the ship that went down in the Gallery. And indeed, the missing woman in question is Ona Sudak, whose relaxing pleasure cruise with her travel companion has turned into a nightmare after the attack on her ship leaves them marooned on a strange planet surrounded by all kinds of mysterious threats.
Out of all the characters though, the one I was most looking forward to going into the book—and whose point-of-view turned out to be my favorite—was Trouble Dog. The idea of sentient starships is becoming more and more popular in science fiction, a trend I’m enjoying very much, and Powell’s take is both interesting and inventive. While the concept of a living ship made up of both organic and machine parts is nothing new, Trouble Dog gets her own chapters written in the first person, allowing readers an intimate look into the way she thinks and feels. Although warship class vessels should be unaffected by emotion, the better to do their job, that clearly didn’t turn out to be the case for Trouble Dog who struggles with her fair share of hang-ups as well as memories she’d much rather forget. For a ship character to feel even more “human” than some of her actual human co-stars in a book is no small achievement, and I applaud the author’s skill in pulling this off, though I’m also pleased that he allowed Trouble Dog to retain many of her A.I. traits, resulting in a perspective that it is truly memorable and unique.
And while we only get to visit a relatively small slice of this universe—mainly the Gallery, where most of the book’s action takes place—I’m already in love with the setting. Everything I find irresistible about the space in science fiction is embodied in the mystery and majesty of this system, where entire planets are sculpted into works of art by some unknown civilization many eons ago, using advanced technology we can only dream of. The effect is both inspiring and a little eerie, but I’m intrigued and excited to explore further.
In terms of the story, I’m pleased with how all the different threads came together. However, as much as I enjoy space operas featuring ensemble crews, most novels told via multiple perspectives inevitably lead to some character arcs being more compelling than others. This is what I found with Embers of War, which saw Trouble Dog and Sal Konstanz emerging as my clear favorites almost as soon as the book began. Namely, this was because a character was only as interesting as their interactions with other characters, with the ship and her captain’s dynamic being the best example of a relationship that immediately stood out. Other perspectives like Ashton Child or Nod, the ship’s no-nonsense engineer, were not as appealing, though I understood their need to show another side of the story or flesh out the world-building. In addition, there were plenty of secrets beneath the surface as well as a number of interconnected events whose links aren’t revealed until later, which made discovering them one of the highlights of the novel’s climax and concluding chapters.
All in all, Embers of War was a great read that ticked off the boxes when it comes to what I look for in a military sci-fi or space opera. On top of that, I thought it laid out the groundwork for the sequel quite nicely, and I am beyond excited to jump into the next book Fleet of Knives where I hope Gareth L. Powell will continue to develop the series’ fascinating concepts and themes.
Embers of War by Gareth L. Powell is a sci-fi military space opera that has been on my radar ever since it was released last year, but it wasn’t until news of the sequel arrived that I was finally spurred to pick it up. And now that I’ve finished it, I’m kicking myself wondering why it took me so long. This novel has everything I wanted out of the genre and more, and I had a lot of fun reading it.
Following a handful of different characters, the story is set in the aftermath of a bitter and violent war fought in a galaxy rife with political tensions. Disgusted with the part she played, the sentient warship Trouble Dog has decided on a new course for her life, joining the House of Reclamation, an organization that answers the calls of distressed starships, in the hopes of atoning for the atrocities she committed. Sal Konstanz, who once fought against Trouble Dog, now finds herself on the same side as the ship as her captain. Together with their crew of medics and rescue workers, they follow a signal from a downed vessel to a touristy but disputed area of space called the Gallery, a system whose planets have all been carved into gargantuan intricate shapes by an ancient alien race.
Meanwhile, elsewhere in the system is another example of former enemies now working together as allies. Ashton Childe and Laura Petrushka, agents from opposing sides team up to locate a missing poet who was rumored to have been on the ship that went down in the Gallery. And indeed, the missing woman in question is Ona Sudak, whose relaxing pleasure cruise with her travel companion has turned into a nightmare after the attack on her ship leaves them marooned on a strange planet surrounded by all kinds of mysterious threats.
Out of all the characters though, the one I was most looking forward to going into the book—and whose point-of-view turned out to be my favorite—was Trouble Dog. The idea of sentient starships is becoming more and more popular in science fiction, a trend I’m enjoying very much, and Powell’s take is both interesting and inventive. While the concept of a living ship made up of both organic and machine parts is nothing new, Trouble Dog gets her own chapters written in the first person, allowing readers an intimate look into the way she thinks and feels. Although warship class vessels should be unaffected by emotion, the better to do their job, that clearly didn’t turn out to be the case for Trouble Dog who struggles with her fair share of hang-ups as well as memories she’d much rather forget. For a ship character to feel even more “human” than some of her actual human co-stars in a book is no small achievement, and I applaud the author’s skill in pulling this off, though I’m also pleased that he allowed Trouble Dog to retain many of her A.I. traits, resulting in a perspective that it is truly memorable and unique.
And while we only get to visit a relatively small slice of this universe—mainly the Gallery, where most of the book’s action takes place—I’m already in love with the setting. Everything I find irresistible about the space in science fiction is embodied in the mystery and majesty of this system, where entire planets are sculpted into works of art by some unknown civilization many eons ago, using advanced technology we can only dream of. The effect is both inspiring and a little eerie, but I’m intrigued and excited to explore further.
In terms of the story, I’m pleased with how all the different threads came together. However, as much as I enjoy space operas featuring ensemble crews, most novels told via multiple perspectives inevitably lead to some character arcs being more compelling than others. This is what I found with Embers of War, which saw Trouble Dog and Sal Konstanz emerging as my clear favorites almost as soon as the book began. Namely, this was because a character was only as interesting as their interactions with other characters, with the ship and her captain’s dynamic being the best example of a relationship that immediately stood out. Other perspectives like Ashton Child or Nod, the ship’s no-nonsense engineer, were not as appealing, though I understood their need to show another side of the story or flesh out the world-building. In addition, there were plenty of secrets beneath the surface as well as a number of interconnected events whose links aren’t revealed until later, which made discovering them one of the highlights of the novel’s climax and concluding chapters.
All in all, Embers of War was a great read that ticked off the boxes when it comes to what I look for in a military sci-fi or space opera. On top of that, I thought it laid out the groundwork for the sequel quite nicely, and I am beyond excited to jump into the next book Fleet of Knives where I hope Gareth L. Powell will continue to develop the series’ fascinating concepts and themes.
April 23, 2020
This is a military SF with a twist that won British Science Fiction Association Award for Best Novel in 2018. Currently I prefer British SF to the USA one and therefore decided to read it. I read is as a Buddy read for April 2020 at SFF Hot from Printers: New Releases group.
The story starts with a bang: there is some space battle and one of the sides to speed up capitulation of the other orders bombing of a planet with a sentient forest.
Then we are brought a few years forward, the war is over and one of the ships that did the bombing, named Trouble Dog defected from the Navy (for it/she is sentient) and joined an organization that helps people in distress across the galaxy. The ship’s captain is Sal Konstanz, who was a medical officer of the losing side during the war. Together with the saved marine Alva Clay and spider-like hermaphrodite alien technician/mechanic Nod they try to save lives. The space liner is torpedoed by unknown hostiles at a peculiar star system, where planets are carved into abstract sculptures. One of the passengers on the liner was a poet Ona Sudak, who harbors a secret for which possibly the liner was shot. On the way to the crash site Trouble Dog acquires more passengers with own agendas.
The setting is interesting, characters are diverse and there story more or less flows. At the same time, changing point of view every single chapter is a bit disorienting at the beginning because a reader (at least me) isn’t invested enough in character to recall them instantly. A very idea of post-war mil-SF with characters, who try to atone for their sins is quite strong.
What makes this book less than great is that the idea isn’t followed through by the author: repentant characters have no qualms of conscience for killing others whom they see as ‘bad’, just like they did during the war. The social issues are also quite one sided, as one of the characters states:
“The Conglomeration despised us because they thought we cared nothing for the traditions of Old Earth. They thought we were reckless and naïve in our openness to alien ideas and influence, and the way we embraced new philosophies, new arts and new gods. We believed in universal healthcare and common ownership of resources and infrastructure, while they worshipped the free market and the individual accumulation of wealth and power for its own sake.”
So, there are clearly good socialists, who lost to bad capitalists, described as two-dimensional cartoons.
An interesting but not groundbreaking novel in the tradition of Culture series by Iain M. Banks, which hasn’t lived to its full potential.
The story starts with a bang: there is some space battle and one of the sides to speed up capitulation of the other orders bombing of a planet with a sentient forest.
Then we are brought a few years forward, the war is over and one of the ships that did the bombing, named Trouble Dog defected from the Navy (for it/she is sentient) and joined an organization that helps people in distress across the galaxy. The ship’s captain is Sal Konstanz, who was a medical officer of the losing side during the war. Together with the saved marine Alva Clay and spider-like hermaphrodite alien technician/mechanic Nod they try to save lives. The space liner is torpedoed by unknown hostiles at a peculiar star system, where planets are carved into abstract sculptures. One of the passengers on the liner was a poet Ona Sudak, who harbors a secret for which possibly the liner was shot. On the way to the crash site Trouble Dog acquires more passengers with own agendas.
The setting is interesting, characters are diverse and there story more or less flows. At the same time, changing point of view every single chapter is a bit disorienting at the beginning because a reader (at least me) isn’t invested enough in character to recall them instantly. A very idea of post-war mil-SF with characters, who try to atone for their sins is quite strong.
What makes this book less than great is that the idea isn’t followed through by the author: repentant characters have no qualms of conscience for killing others whom they see as ‘bad’, just like they did during the war. The social issues are also quite one sided, as one of the characters states:
“The Conglomeration despised us because they thought we cared nothing for the traditions of Old Earth. They thought we were reckless and naïve in our openness to alien ideas and influence, and the way we embraced new philosophies, new arts and new gods. We believed in universal healthcare and common ownership of resources and infrastructure, while they worshipped the free market and the individual accumulation of wealth and power for its own sake.”
So, there are clearly good socialists, who lost to bad capitalists, described as two-dimensional cartoons.
An interesting but not groundbreaking novel in the tradition of Culture series by Iain M. Banks, which hasn’t lived to its full potential.
June 23, 2018
I really quite liked this. The lighter, redemptive feel was refreshing after some of the grimmer SF I've read recently.
The pacing was great and everything moves along well. I absolutely loved Trouble Dog, and her flawed captain, Sal, was a great compliment. I'm not sure that I liked having all those POVs written in the first person, but that is a matter of personal taste. Also, the whole storyline relating to Ona Sudek felt a bit unnecessary when taken as part of the whole. I would rather have had more of Trouble Dog and her crew.
But none of that ultimately detracted from the larger ideas of the story that appealed to me so much, particularly the concept of The House of Reclaimation, it's history, objectives, and possibilities for the future. In Embers of War Powell sets the stage for a wealth of continuing storylines, and I will definitely read the next book, Fleet of Knives.
The pacing was great and everything moves along well. I absolutely loved Trouble Dog, and her flawed captain, Sal, was a great compliment. I'm not sure that I liked having all those POVs written in the first person, but that is a matter of personal taste. Also, the whole storyline relating to Ona Sudek felt a bit unnecessary when taken as part of the whole. I would rather have had more of Trouble Dog and her crew.
But none of that ultimately detracted from the larger ideas of the story that appealed to me so much, particularly the concept of The House of Reclaimation, it's history, objectives, and possibilities for the future. In Embers of War Powell sets the stage for a wealth of continuing storylines, and I will definitely read the next book, Fleet of Knives.
June 29, 2018
The story opens with an horrific act of brutality to stop a war, then continues years later where members of both sides live in an uneasy peace. The author presents different viewpoint characters from both sides of the former conflict, Sal Konstanz (the captain of the ship Trouble Dog), Ona Sudak (a poet), Ashton Childe (a spy for one of the sides), and Trouble Dog (a former warship involved in the war crime).
All these characters are brought together when someone unknown fires at a cruise ship that Ona is on. Sal, a member of the House of Reclamation, which renders aid to any ships, regardless of side or origin, must take Trouble Dog and her crew to retrieve survivors. Ashton is told by his government to retrieve Ona, and gets a ride, along with Laura Petrushka, a spy for the other side, on Trouble Dog. Lots of stuff happens and it’s exciting and tense as everyone knows that a resumption of conflict is possible with existing tensions and an unknown attacker.
What I really liked: Gareth L. Powell gives us terrific female characters, all of whom are flawed and are still dealing with the psychological aftereffects of the war. I really liked how Sal and Trouble Dog interacted; how perceptive Laura was in how she dealt with Ashton; the difficult relationship Sal and Alva Clay, ship security officer and former soldier, who have difficult, somewhat argumentative interactions. And I loved Trouble Dog. Horrified by her part in committing the war crime, Trouble Dog resigned and signed on with the House of Reclamation, dedicating herself to helping others. Trouble Dog has human, canine and machine parts, and these definitely inform her words and actions. I found Dog was a scene-stealer, and I kept finding myself grinning at Trouble Dog’s enthusiasm, fight tactics and humour.
As this is a first book in a series, we’re left with some mysteries and some changes to individuals’ loyalties and standing. I’m eager to find out what’s next for Trouble Dog, Sal and crew.
All these characters are brought together when someone unknown fires at a cruise ship that Ona is on. Sal, a member of the House of Reclamation, which renders aid to any ships, regardless of side or origin, must take Trouble Dog and her crew to retrieve survivors. Ashton is told by his government to retrieve Ona, and gets a ride, along with Laura Petrushka, a spy for the other side, on Trouble Dog. Lots of stuff happens and it’s exciting and tense as everyone knows that a resumption of conflict is possible with existing tensions and an unknown attacker.
What I really liked: Gareth L. Powell gives us terrific female characters, all of whom are flawed and are still dealing with the psychological aftereffects of the war. I really liked how Sal and Trouble Dog interacted; how perceptive Laura was in how she dealt with Ashton; the difficult relationship Sal and Alva Clay, ship security officer and former soldier, who have difficult, somewhat argumentative interactions. And I loved Trouble Dog. Horrified by her part in committing the war crime, Trouble Dog resigned and signed on with the House of Reclamation, dedicating herself to helping others. Trouble Dog has human, canine and machine parts, and these definitely inform her words and actions. I found Dog was a scene-stealer, and I kept finding myself grinning at Trouble Dog’s enthusiasm, fight tactics and humour.
As this is a first book in a series, we’re left with some mysteries and some changes to individuals’ loyalties and standing. I’m eager to find out what’s next for Trouble Dog, Sal and crew.
March 12, 2024
I had seen many ship engagements during the war. They tended to be nasty, brutish and short – like speed chess played with live ammunition. The next few minutes were liable to be uncomfortable and terrifying in equal measure – and would most probably culminate in our violent deaths.
Comparisons to the Polity (Neal Asher) and the Culture (Iain M. Banks) are inevitable, I suppose, but there are two notable differences. Firstly, the shipminds in Powell’s universe are not as powerful as the near god-like minds of the Culture or the Polity and, secondly, they are subservient to their human captains (and factions). This is an important distinction, since it drives an important part of the narrative and distinguishes it from the rest of the pack (so to speak).
That doesn't mean Embers of War is any less fun. In fact, there is some moving room for character development that the author employs nicely. Trouble Dog is obviously the star of the story (even though, arguably, not the main character).
The novel has an almost perfect balance between space and planetary sequences, including extraordinary artifacts and fascinating mysteries. And let’s be honest, the concept of an independent House of Reclamation for Search and Rescue (or Search and Recovery) missions in space makes perfect sense, given the fictional universes that authors envision, and all the hazards that this might entail.
I could go on, but there really is only one more salient point I should outline: this book is eminently readable. The pacing is great, and I finished it surprisingly quickly (and this, in itself, is worth a number of stars).
I might die today, but at least I’d left a small mark on the universe.
Recommended.
Comparisons to the Polity (Neal Asher) and the Culture (Iain M. Banks) are inevitable, I suppose, but there are two notable differences. Firstly, the shipminds in Powell’s universe are not as powerful as the near god-like minds of the Culture or the Polity and, secondly, they are subservient to their human captains (and factions). This is an important distinction, since it drives an important part of the narrative and distinguishes it from the rest of the pack (so to speak).
That doesn't mean Embers of War is any less fun. In fact, there is some moving room for character development that the author employs nicely. Trouble Dog is obviously the star of the story (even though, arguably, not the main character).
The novel has an almost perfect balance between space and planetary sequences, including extraordinary artifacts and fascinating mysteries. And let’s be honest, the concept of an independent House of Reclamation for Search and Rescue (or Search and Recovery) missions in space makes perfect sense, given the fictional universes that authors envision, and all the hazards that this might entail.
I could go on, but there really is only one more salient point I should outline: this book is eminently readable. The pacing is great, and I finished it surprisingly quickly (and this, in itself, is worth a number of stars).
I might die today, but at least I’d left a small mark on the universe.
Recommended.
March 19, 2021
This was one of those books that I had seen some promo for so I stuck in on my wishlist to get to "eventually". Then Booksandpieces talked about it in a wrap up which ended up being more of an excited squeak so I had to buy it and read it immediately!
I'm glad I did as it's possibly the best book I have read in a long time. In fact, as soon as I finished it I wanted to start again. And that's something that never happens.
We have multiple points of view in here, from the Captain of Trouble Dog, Sal Konstanz, to a spy, to Trouble Dog herself. Each personality really comes through. However, it took a little while to get into the flow of things due to the quick changes in point of view. Some of the chapters were quite short. On the one had, it got a little frustrating as I was still getting to know everyone one, on the other hand it really helped to ramp up the tension during more active sequences. It did establish a rhythm before too long and I felt like I really got to know everyone. I looked forward to Trouble Dog's chapters the most. Her chapters were surprisingly emotional and perceptive. She's a warship, built for ultimate destruction and violence, but she truly cares for the crew living and working within her. Sal Konstanz is an interesting Captain and I'm really interested in seeing her develop further in future books. She's always trying to do the right thing but doesn't always make the right choice. She makes mistakes but owns up to them and tries to learn.
The setting is absolutely fascinating. Up close, we have the crew getting to know each other. Some of the crew have worked together longer than others and everyone's wary about new people coming aboard (and quite rightly so with some of the characters involved!). But there's a slow process of trust and friendships beginning. It's going to take a while, every one has secrets but I can't wait for more development. On the wider view, we have Humans as part of a greater galactic community. We're here but we're one of many and not always the ones with all the power. Think more of Becky Chambers than Star Trek. We got some glimpses of how Humans have reached this part and some idea of the greater universe. I loved this as world building as it all felt seamless.
One or two pieces of technology felt a bit "handwavy". As in it works because a more advanced race of aliens did it. It does fit into the world and the general feeling that Humans in this universe don't know a lot and we're definitely not the most advanced.
This definitely felt like an interesting lovechild of The Long Way To A Small Angry Planet and The Expanse. Humans are out in the universe, we still have issues but we're working on it and a crew of misfits and loners getting to know each other and working together are something to pay attention to.
I'm glad I did as it's possibly the best book I have read in a long time. In fact, as soon as I finished it I wanted to start again. And that's something that never happens.
We have multiple points of view in here, from the Captain of Trouble Dog, Sal Konstanz, to a spy, to Trouble Dog herself. Each personality really comes through. However, it took a little while to get into the flow of things due to the quick changes in point of view. Some of the chapters were quite short. On the one had, it got a little frustrating as I was still getting to know everyone one, on the other hand it really helped to ramp up the tension during more active sequences. It did establish a rhythm before too long and I felt like I really got to know everyone. I looked forward to Trouble Dog's chapters the most. Her chapters were surprisingly emotional and perceptive. She's a warship, built for ultimate destruction and violence, but she truly cares for the crew living and working within her. Sal Konstanz is an interesting Captain and I'm really interested in seeing her develop further in future books. She's always trying to do the right thing but doesn't always make the right choice. She makes mistakes but owns up to them and tries to learn.
The setting is absolutely fascinating. Up close, we have the crew getting to know each other. Some of the crew have worked together longer than others and everyone's wary about new people coming aboard (and quite rightly so with some of the characters involved!). But there's a slow process of trust and friendships beginning. It's going to take a while, every one has secrets but I can't wait for more development. On the wider view, we have Humans as part of a greater galactic community. We're here but we're one of many and not always the ones with all the power. Think more of Becky Chambers than Star Trek. We got some glimpses of how Humans have reached this part and some idea of the greater universe. I loved this as world building as it all felt seamless.
One or two pieces of technology felt a bit "handwavy". As in it works because a more advanced race of aliens did it. It does fit into the world and the general feeling that Humans in this universe don't know a lot and we're definitely not the most advanced.
This definitely felt like an interesting lovechild of The Long Way To A Small Angry Planet and The Expanse. Humans are out in the universe, we still have issues but we're working on it and a crew of misfits and loners getting to know each other and working together are something to pay attention to.
April 20, 2020
When I began with Embers of War I was prepared to love it. I almost felt like I was reading a Culture novel: there was thinking ships with FTL drives, multiple alien races living side-by-side pretty much equally, mysterious alien megastructure artifacts.
And the book had themes of atonement and repentance, something I always enjoy.
Alas, the book didn't live up to my expectations. Part of the problem were the characters, none of whom were particulary likeable. It didn't help that the book was divided into short chapters that were told from one characters viewpoint at a time. There were two times I had to flip back a hundred pages or so to remind myself who this or that character even was. That's not a good sign, to say the least.
But the main problem was that the book didn't seem to remember where it's emotional focus was supposed to be. There were scenes where an ex-soldier remembers the horrors of war with a shudder and revulsion, and the next moment there is a character who is casually and seriously suggesting throwing a troublesome crew member out of the airlock. The sudden change in tone from quiet pacifism to frontier-justice machismo was so abrupt it almost gave me whiplash. And this wasn't a one-off, either: this was a constant problem with the book. Powell didn't seem to remember from chapter to chapter if he was writing a Culture fanfic or hard-boiled military SF.
I could also complain about the ending, which was very unsatisfying, but in reality the book lost me much earlier than that. It wasn't that Embers of War was bad, but I was extremely disappointed with all the lost potential. It contained the elements for an excellent book, so when it was merely good-ish was a profound letdown.
And the book had themes of atonement and repentance, something I always enjoy.
Alas, the book didn't live up to my expectations. Part of the problem were the characters, none of whom were particulary likeable. It didn't help that the book was divided into short chapters that were told from one characters viewpoint at a time. There were two times I had to flip back a hundred pages or so to remind myself who this or that character even was. That's not a good sign, to say the least.
But the main problem was that the book didn't seem to remember where it's emotional focus was supposed to be. There were scenes where an ex-soldier remembers the horrors of war with a shudder and revulsion, and the next moment there is a character who is casually and seriously suggesting throwing a troublesome crew member out of the airlock. The sudden change in tone from quiet pacifism to frontier-justice machismo was so abrupt it almost gave me whiplash. And this wasn't a one-off, either: this was a constant problem with the book. Powell didn't seem to remember from chapter to chapter if he was writing a Culture fanfic or hard-boiled military SF.
I could also complain about the ending, which was very unsatisfying, but in reality the book lost me much earlier than that. It wasn't that Embers of War was bad, but I was extremely disappointed with all the lost potential. It contained the elements for an excellent book, so when it was merely good-ish was a profound letdown.
April 25, 2021
This book was a good mix of military-scifi and space opera. There was interesting technology, a good story, and characters you can relate to, all cast into a believable far-reaching world of aliens and space.
I am particularly intrigued by the idea of super AI (as most scifi geeks would probably say), and the idea of a spaceship having a sentient AI is a lot of fun. I do realize this has been done in some other scifi books (which I've not read), but I feel that it is done very well here. As a matter of fact, my favorite character ends up being Trouble Dog! I love the struggles that it goes through both morally and strategically to deal with the elements of this story.
The story had several twists and turns, all of which made it easy to stay engaged and curious.
Overall, as someone who enjoys both space opera and especially military-scifi, this was a fast and satisfying read. I'm at a firm 4.5/5.0 stars, and rounded it up to 5 because of my enjoyment. Books 2 and 3 await!
I am particularly intrigued by the idea of super AI (as most scifi geeks would probably say), and the idea of a spaceship having a sentient AI is a lot of fun. I do realize this has been done in some other scifi books (which I've not read), but I feel that it is done very well here. As a matter of fact, my favorite character ends up being Trouble Dog! I love the struggles that it goes through both morally and strategically to deal with the elements of this story.
The story had several twists and turns, all of which made it easy to stay engaged and curious.
Overall, as someone who enjoys both space opera and especially military-scifi, this was a fast and satisfying read. I'm at a firm 4.5/5.0 stars, and rounded it up to 5 because of my enjoyment. Books 2 and 3 await!
October 6, 2020
Gareth Powell has spun a yarn as intriguing as it is entertaining. The starships are not only sentient, but they have the ability to create avatars of themselves and can interact in a virtual plane as humans. This gives the reader a vivid image of the starships personality. This is my first book of Powell’s that I’ve read and enthusiastically look forward to reading the whole series.
December 16, 2021
Reread notes/edits, Dec 2021
This is my first Gareth Powell novel, and it is a decent space opera; heavy on the opera. Reminded me a little of Clarke's Rendezvous with Rama and maybe a page from Bank's Culture novels given the sentient AI's involved. It has an 'old school' 50s/60s feel to it, but I did not feel much in the way of nostalgia for it as it is a modern product. Let me explain.
The novel starts off with a nasty space battle between two human factions, with the end result the scouring of life from a planet and its sentient jungle. The navel officer that gave the order to raze the planet, which did indeed end the war, has gone into hiding and is now a poet. Three years after that battle, tensions among the human factions still exist.
One of the warships in that famous battle resigned (they are sentient ships after all) and now works for the House of Reclamation, an order dedicated to the preservation of life. They answer rescue calls, stranded space ships, etc. The people that serve on the crew come from a variety of backgrounds, including some rather dubious ones, but that is water under the bridge once they join.
The story starts to heat up when the Trouble Dog, the ex-navy warship, picks up a distress call from a liner in a contested solar system. Something very odd is going on, and Powell steps on the gas for the second half of the book. So much for the basic sitrep.
There are lots of big ideas here, but for me, not enough focus. Powell gives us a range of aliens, all kinda star warzy, but does not really do much with it. An alien 'Nod' works as the ship's engineer, but we get little from him except some speculative notes/reflections on some 'world tree'. Human history in space is briefly outlined in a page or so; some members of the 'league of aliens' so to speak made contact with Earth when civilization was on the verge of collapse and so it goes. It is almost as if his is tossing ideas at a wall to see what sticks.
Powell is rather deft with the changing POVs, even if he announces it loudly in title of the chapters, and yes, this is a rather easy, fast read. I call this modern 'popcorn' space opera, basically not doing much beyond the 'golden age' adventure tales, but infusing it with modern sensibilities (strong female leads, etc.). Fun, but light. YMMV, however.
This is my first Gareth Powell novel, and it is a decent space opera; heavy on the opera. Reminded me a little of Clarke's Rendezvous with Rama and maybe a page from Bank's Culture novels given the sentient AI's involved. It has an 'old school' 50s/60s feel to it, but I did not feel much in the way of nostalgia for it as it is a modern product. Let me explain.
The novel starts off with a nasty space battle between two human factions, with the end result the scouring of life from a planet and its sentient jungle. The navel officer that gave the order to raze the planet, which did indeed end the war, has gone into hiding and is now a poet. Three years after that battle, tensions among the human factions still exist.
One of the warships in that famous battle resigned (they are sentient ships after all) and now works for the House of Reclamation, an order dedicated to the preservation of life. They answer rescue calls, stranded space ships, etc. The people that serve on the crew come from a variety of backgrounds, including some rather dubious ones, but that is water under the bridge once they join.
The story starts to heat up when the Trouble Dog, the ex-navy warship, picks up a distress call from a liner in a contested solar system. Something very odd is going on, and Powell steps on the gas for the second half of the book. So much for the basic sitrep.
There are lots of big ideas here, but for me, not enough focus. Powell gives us a range of aliens, all kinda star warzy, but does not really do much with it. An alien 'Nod' works as the ship's engineer, but we get little from him except some speculative notes/reflections on some 'world tree'. Human history in space is briefly outlined in a page or so; some members of the 'league of aliens' so to speak made contact with Earth when civilization was on the verge of collapse and so it goes. It is almost as if his is tossing ideas at a wall to see what sticks.
Powell is rather deft with the changing POVs, even if he announces it loudly in title of the chapters, and yes, this is a rather easy, fast read. I call this modern 'popcorn' space opera, basically not doing much beyond the 'golden age' adventure tales, but infusing it with modern sensibilities (strong female leads, etc.). Fun, but light. YMMV, however.
February 2, 2020
I adore stories about sentient ships. I have a huge soft spot for stories about salvage crews. And anybody who can paint a setting as big and bold as the excesses of the Culture will have a little piece of my heart forever. Gareth L Powell has created a galaxy peopled with many races and cultures and imbued with a sense of history in which humanity is only a very recent participant. We only ever – at best – scratch the surface of the world-building.
Fast, furious and fun. There’s a couple of aspects of the very end that leave me very mildly dissatisfied, but this is one of those books that has stayed with me and continued putting roots into my affections the more I've thought about it. A solid entertaining space opera with great visuals (the Gallery!) and engaging AI (Trouble Dog <3)
Full review
I received a free copy from the publisher in exchange for an honest review.
Reread notes: I no longer know what I was dissatisfied with. This time around I was more conscious of Gareth L Powell's sometimes macabre similes, grim footnotes that fit the blood-soaked conscience of the Trouble Dog. I remain a huge fan of the Dog and her captain, although if I'm honest I could probably do without the other POVs entirely for a more focused narrative (I appreciate Childe as an illustration of how people convert to the House of Reclamation, but just as we didn't need Preston's POV to understand his journey I'm not sure we needed Ashton's - and it would perhaps have increased the tension regards his choices in the final act).
Fast, furious and fun. There’s a couple of aspects of the very end that leave me very mildly dissatisfied, but this is one of those books that has stayed with me and continued putting roots into my affections the more I've thought about it. A solid entertaining space opera with great visuals (the Gallery!) and engaging AI (Trouble Dog <3)
Full review
I received a free copy from the publisher in exchange for an honest review.
Reread notes: I no longer know what I was dissatisfied with. This time around I was more conscious of Gareth L Powell's sometimes macabre similes, grim footnotes that fit the blood-soaked conscience of the Trouble Dog. I remain a huge fan of the Dog and her captain, although if I'm honest I could probably do without the other POVs entirely for a more focused narrative (I appreciate Childe as an illustration of how people convert to the House of Reclamation, but just as we didn't need Preston's POV to understand his journey I'm not sure we needed Ashton's - and it would perhaps have increased the tension regards his choices in the final act).
April 6, 2020
I loooove Embers of War! I was looking for an adventure with not too many POV and a graspable plot that has adventure and mystery. And this is it! I loved the writing and characters, and especially Trouble Dog. Trouble Dog is a sentient ship I guess I can call it that. With human and dog elements. The dynamic between ship and the chars is fun. It starts off with war in the prologue and than chapter one with Trouble Dog and the gang exploring a fallen ship on a planet. Things go awry and dude that was tense XD. After that they get a next distress call and they go help out there. But things are wayyy too political and complicated, it becomes enemy territory cause there is a secret involving a person and the planet it was orbiting. I was excited to be on board and excited to explore along. Fantastic start to a series! I feel like it can be read as a stand alone, sure there is a bigger plot that opens and you def want to know more and obviously continue to be part of the gang :). But it def works as a wrapped up story to try the author out without a major cliffhanger where you just have to continue.
December 27, 2018
4.0 Stars
Combining my two favourite elements in science fiction (space opera AND sentient technology), it was so easy to get engrossed in this novel. The story moved along at a good pace, with short chapters shifting between the different perspectives. I found the human characters fairly flat and unmemorable, yet the non-human perspectives were amazing. I absolutely loved the chapters written from the perspective of Trouble Dog and, even more so, Nod. These characters were refreshingly unique with interesting mannerisms and thought-patterns that made them decidedly different than the humans.
I did wish there had been more world-building in this book.It simply felt too short to satisfy my desire for the epic scale of world-building I normally look for in space opera. However, this is the start of new trilogy so I suspect the story and universe with be expanded in the rest of the series. I would recommend definitely this one to fellow science fiction readers.
Combining my two favourite elements in science fiction (space opera AND sentient technology), it was so easy to get engrossed in this novel. The story moved along at a good pace, with short chapters shifting between the different perspectives. I found the human characters fairly flat and unmemorable, yet the non-human perspectives were amazing. I absolutely loved the chapters written from the perspective of Trouble Dog and, even more so, Nod. These characters were refreshingly unique with interesting mannerisms and thought-patterns that made them decidedly different than the humans.
I did wish there had been more world-building in this book.It simply felt too short to satisfy my desire for the epic scale of world-building I normally look for in space opera. However, this is the start of new trilogy so I suspect the story and universe with be expanded in the rest of the series. I would recommend definitely this one to fellow science fiction readers.
February 16, 2018
I really enjoy a good space opera and this has everything I could wish - great characters, brilliant starships and a thoroughly entertaining plot set in a variety of fascinating settings - plus mysterious and wondrous alien artefacts. There are hints of something else in the shadows ensuring that my attention is caught for the rest of the series, although the characters and the strange 'Gallery' have done more than enough to hook me. Gareth L Powell writes very well and is an excellent teller of space stories. Review to follow on For Winter Nights shortly. 4.5 stars.
May 15, 2018
Vigorous space opera peering into war and guilt - but not so much so as to detract from the action. Banksian (if that's a word) flavours, and plenty more to do. Swallowed it in a short space of time, will no doubt enjoy the next as well.
April 15, 2020
2019: Addictively readable with compelling characters and a fascinating yet not overly complicated world. This book just whizzed by. I enjoyed the perspectives of all the characters and how the short chapters helped quicken the pace. I loved the ethical questions about personhood, loyalty, war and legacy. The writing style was also subtly beautiful. Such a wonderful surprise!!
2020: I listened to the audiobook this time. I didn’t enjoy this format as much as physically reading it. A few of the narrators annoyed me. I still really enjoyed the characters and themes. I look forward to continuing the story!
2020: I listened to the audiobook this time. I didn’t enjoy this format as much as physically reading it. A few of the narrators annoyed me. I still really enjoyed the characters and themes. I look forward to continuing the story!
September 9, 2020
This was a most enjoyable space adventure. My favorite character is the ships mechanic. And is exactly the escape I needed right now.
January 28, 2024
This book reminded me of the Imperial Radch series by Ann Leckie, which remains my favorite AI warship series. However, this book shows great promise as well.
One of the things I enjoyed about this book was the presence of strong female characters. They were flawed, yet unapologetic, and worked with others to achieve the best possible outcome in any given situation.
The story is told from multiple perspectives, which works very well and adds depth to the plot. I am already excited to read the second book.
One of the things I enjoyed about this book was the presence of strong female characters. They were flawed, yet unapologetic, and worked with others to achieve the best possible outcome in any given situation.
The story is told from multiple perspectives, which works very well and adds depth to the plot. I am already excited to read the second book.
August 16, 2018
Boring, weak characters. I mostly skimmed it the farther into the book I got. I just couldn’t care about the characters or the plot.
March 19, 2019
Like Iain M Banks Culture series? This is better...
#boldstatements
Seriously, though. This is one of the best, character driven books I've read in a long time. A rare thing for sci-fi.
#boldstatements
Seriously, though. This is one of the best, character driven books I've read in a long time. A rare thing for sci-fi.
January 5, 2023
Three and a half stars.
"I might die today, but at least I left a small mark in the universe"
Why haven't I read any of Gareth M Powell's works before? This a good and very enjoyable space opera.
"I might die today, but at least I left a small mark in the universe"
Why haven't I read any of Gareth M Powell's works before? This a good and very enjoyable space opera.
June 22, 2019
This review will be shorter than usual because I broke my elbow and have one hand in a cast.
Trouble Dog is a sentient warship that developed a conscience after directly participating in a genocide that ended the last war between two human factions. Since then, she has joined up with the House of Reclamation, a kind of interstellar Red Cross, in an attempt to atone. The latest distress call she and her crew respond to, however, proves far more dangerous and political than it should be. Trouble Dog's captain, Sal Konstanz, must "let her off the leash" to fight her former ships-in-arms—ships that have retained their full complement of weapons. Meanwhile, not-so-secret agents from both sides are also present, looking to rescue a very specific passenger.
Powell's particular style of space combat works for me. There's a good balance of fancy, exciting SF tech without dipping too far into space fantasy. He's picked a good overall level of technological development for the human "Generality" of this book. Combat relies on a combination of tactics and stealth along with superior firepower. By adjusting the slider on one when the other tilts too far in one side's favour, Powell keeps things fresh and suspenseful in a way that sustains interest.
Similarly, the POV shifts proved welcome instead of distracting. These can be hit-or-miss for me, but they are effective here. Powell has a talent for knowing precisely when to switch up the perspective to leave me just dissatisfied enough to keep reading for more from that character. I didn't like all of the viewpoint characters equally, of course. Childe was far too whiny and, frankly, bad at his job. Shout-out to Nod, whose very alien narration might seem superfluous, even indulgent, on one level, but is interesting, to me, for its contrast. Unlike the other narrators, Nod isn't seeking redemption.
This redemption arc that's so central to Embers of War, though, is lacklustre at best. Powell makes a big show out of everyone ending up at the House of Reclamation as having some reason they need that fresh start. Yet we don't see much growth from these characters over the course of the story. The exception might be Sal, who finds herself thrust into making military decisions that cost lives. Nevertheless, the thematic elements of this book are where it's weakest. Other than Trouble Dog making one lampshading quip about her ambivalence regarding their new ally's tactics, Powell declines to really dig into the significance of the story's endgame. I can only hope the next book does.
Because whatever its faults, Embers of War leaves me wanting more. More of this universe, more of these characters, more intrigue … I just hope Powell raises the stakes for the next one.
Trouble Dog is a sentient warship that developed a conscience after directly participating in a genocide that ended the last war between two human factions. Since then, she has joined up with the House of Reclamation, a kind of interstellar Red Cross, in an attempt to atone. The latest distress call she and her crew respond to, however, proves far more dangerous and political than it should be. Trouble Dog's captain, Sal Konstanz, must "let her off the leash" to fight her former ships-in-arms—ships that have retained their full complement of weapons. Meanwhile, not-so-secret agents from both sides are also present, looking to rescue a very specific passenger.
Powell's particular style of space combat works for me. There's a good balance of fancy, exciting SF tech without dipping too far into space fantasy. He's picked a good overall level of technological development for the human "Generality" of this book. Combat relies on a combination of tactics and stealth along with superior firepower. By adjusting the slider on one when the other tilts too far in one side's favour, Powell keeps things fresh and suspenseful in a way that sustains interest.
Similarly, the POV shifts proved welcome instead of distracting. These can be hit-or-miss for me, but they are effective here. Powell has a talent for knowing precisely when to switch up the perspective to leave me just dissatisfied enough to keep reading for more from that character. I didn't like all of the viewpoint characters equally, of course. Childe was far too whiny and, frankly, bad at his job. Shout-out to Nod, whose very alien narration might seem superfluous, even indulgent, on one level, but is interesting, to me, for its contrast. Unlike the other narrators, Nod isn't seeking redemption.
This redemption arc that's so central to Embers of War, though, is lacklustre at best. Powell makes a big show out of everyone ending up at the House of Reclamation as having some reason they need that fresh start. Yet we don't see much growth from these characters over the course of the story. The exception might be Sal, who finds herself thrust into making military decisions that cost lives. Nevertheless, the thematic elements of this book are where it's weakest. Other than Trouble Dog making one lampshading quip about her ambivalence regarding their new ally's tactics, Powell declines to really dig into the significance of the story's endgame. I can only hope the next book does.
Because whatever its faults, Embers of War leaves me wanting more. More of this universe, more of these characters, more intrigue … I just hope Powell raises the stakes for the next one.
September 5, 2019
A book which takes the surface details of deep ideas you'll find in novels by Iain M Banks and Alastair Reynolds, along with nods to trendy ideas you'll find in Anne Leckie and others along the lines of "I'm a spaceship/robot but am I really human underneath?"
But it's only the surface details of those ideas, layered onto some space ship battles and exploration action. Which is fine, for light summer reading, but disappointingly shallow.
Full review on my podcast, SFBRP episode #407
http://www.sfbrp.com/archives/1610
But it's only the surface details of those ideas, layered onto some space ship battles and exploration action. Which is fine, for light summer reading, but disappointingly shallow.
Full review on my podcast, SFBRP episode #407
http://www.sfbrp.com/archives/1610
November 4, 2020
This is everything I want in a story. Sentient space ships facing moral dilemmas, excellent character building, quality universe building, interesting histories, deep personal issues facing the characters, intense and engaging inner and outer struggles, and some of the best spaceship warfare ever! Loved it and highly recommend to readers of SciFi and for those who normally skip SciFi too. This story will appeal to readers of all genres I think.
June 8, 2018
light space opera (not necessarily in tone but more in little world building, lots of hand waving, following few typical characters, action, secrets)
lots of action, twists and turns, surprises, the usual continual raising of stakes of space opera and the clear Banksian overtones, all in a fairly moderate under 400 page romp; volume 2 definitely of interest
lots of action, twists and turns, surprises, the usual continual raising of stakes of space opera and the clear Banksian overtones, all in a fairly moderate under 400 page romp; volume 2 definitely of interest
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