The urban fantasy series with the heart, soul and humor of a self-aware comic book concludes appropriately and true to itself. Wishes became reality under the warped plan of an unsure, mad scientist in the series opener. At his mind’s bidding, superheroes and supervillians [“Pushed” and “Pushcrooks”] burst onto the scene. The eternal battle between good and evil was to be led unquestionably by neo-God, Epic–the former professor/mad scientist. Protagonist, ex-girlfriend Dr. Irene Roman [aka “Indy”] leads the charge in countering the comic-inspired madness. She’s one of the few [“Naturals”] that can see through the new reality to the old one.
This final installment sees factions of Pushed each battling to define what the new relationship between Pushed and non-Pushed will look like. The Pushed all too often ignore that the non-Pushed might have their own thoughts in this matter. Indy’s associates [the Atlanta 5] start off in one kind of trouble while she’s roiled in another. New friendly Pushed rush in to take up the mantle. Especially nice is the inclusion of non-Pushed civilians doing their part to rebel and organize while living in an occupied, blockaded city.
The urban fantasy series with the heart, soul and humor of a self-aware comic book continues here after its impressive start with Indomitable. Wishes became reality under the warped plan of an unsure, mad scientist in the series opener. At his mind’s bidding, superheroes and supervillians burst onto the scene. The eternal battle between good and evil was to be led unquestionably by neo-God, Epic–the former professor/mad scientist. Protagonist, ex-girlfriend Dr. Irene Roman leads the charge in countering the comic-inspired madness. She’s one of the few that can see through the new reality to the old one. She’s accompanied by a ragtag band of loyal new superheroes that don’t necessarily agree that everything new, including their powers, is bad.
Another unaffected person takes center stage here, but his methods are too extreme for Irene and he either wants her help or her death. This new mega-foe has lost his moral compass as he coaxes corpses into zombie-like vampires to help bring down the superheroes.
Irene must decide whether everything about the new reality is bad, or if something redeemable lies therein. It’s this internal struggle that makes the series. That, and its sheer sense of fun. The series is recommended.
This anthology is a collection of short mostly speculative stories with tinges of sci-fi, fantasy, folktale and the supernatural. A few come from the same world in which a few individuals have the ability to fly. These are excerpts from the author’s unpublished novel. Many fall short of feeling fully developed, resting instead at vignette status. None stand far above or below the rest.
One commonality throughout the collection is Nigeria as a background, often with American narrators. The uneasy pairing of Nigerian and American interests and values is the greatest strength to the anthology.
This novel is thinly plotted Torture Porn. All scenes involve either torture/ graphic murder, graphic sex of various kinky varieties, urination, defecation or a combination of any and all of these.
Most of the characters manage to be porn stars or serial killers, all of whom have sexually degrading episodes from their past that get used to fill the pages between almost plot-relevant scenes of equally degrading torture porn. The few other characters are not left likable either in that they have no backstory or development or no redeeming qualities. One’s meant to like the police officer who apparently thinks it was okay to punish her husband for masturbating by anally raping him with a nightstick in a non-consensual way. This, described graphically multiplied by all scenes of the book = Hell Dancer.
Lovecraftian elements are window dressing, ultimately not building any true sense of a multi-dimensional world of horror.
Filtered through the lens of a selfish, short sighted man-child, the world-building for this series fails to engage. This, despite the great world-building provided by a precursor short story to this world called “The Arena” which accomplished much and to great effect.
Seb Zobo is a self-absorbed fighter by nature with the remarkable–if not superhero–ability to slo-mo his perception of time and to spot the ultimate weaknesses in any challenger’s body. It doesn’t matter if he’s never met a species of alien before, he can discern the one spot that will bring them down with a single punch. Conveniently, every species of alien has that one spot. Nearly every species is also taller than humans, smells of feces and has bad breath.
The redundancy of every encounter is taxing. And the plot, while driven, doesn’t satisfy or grow the hero to a likable level.
This novel completes the The Red Rising Trilogy in a worthy and satisfying way. The expansive world-building of the second installment pays off as Darrow and company try to realize his martyred wife’s dream of a caste-less solar system.
The entire series is highly recommended.
The first in the series, Red Rising, was easily one of the best debut novels of 2014. It took tones of dystopian, young adult series like The Hunger Games and elevated the dialogue on social justice, honesty and loyalty. The second and best in the series, Golden Son, abandoned all comparisons as the world-building went into overdrive, sculpting the framework for the grand conflict of liberating the enslaved masses throughout the solar system. The plot veered toward Space Military without losing its heart. If anything, the human element matured to a nuanced field of grays.
A year has elapsed between the second and final installments. Darrow is a broken shadow of his former self having endured nothing but torture and seclusion since he’s last been seen. His allies need to be rebuilt and re-earned. And, he needs to rebuild himself physically, emotionally, mentally, and strategically. Much has transpired in his absence vaulting him to mythic status which even he cannot live up to. The expectations are mountainous, and hope dwindles . . .
While coasting on the great work of the second installment, pleasingly this novel doesn’t embrace a fairy tale ending. Unless one means the original Grimm’s tales which were dark messy things embedded with lessons for the ages.
The exciting and worthy sequel to Illuminae ably walks the fine line between stylistic consistency and narrative predictability. Like the first in the series, this novel takes the form of epistolary dossier with a smattering of emails, texts and video transcriptions. A brilliant if not ominous addition is the new heroine’s hand-drawn journal bringing a graphic element into the mix. A bullet hole through each page and an increasingly larger blood stain marring her sketches provide appropriately unsubtle foreshadowing.
The previous trilogy of protagonists [Kady, Ezra, and the existential AI–AIDAN] take a backseat to a new trilogy of sub-adult heroes. Hanna, of the aforementioned journal, is the well to-do daughter of the Heimdall Space Station captain. With all survivors of the first book crammed on the science vessel, Hypatia, due to arrive within days, the Bei-Tech Corporation plans a full-scale attack on the Heimdall and its wormhole to keep news of its atrocities from getting out. Working with her are teenaged, unregistered cousins, Nik and Ella, the scions of a mafia family. Heavily inked Nik has already done time for murder and has the survival instincts and resourcefulness to prove it. His plague-stricken cousin Ella [think: Polio] may not have use of her lower body, but she makes up for that in cyber know-how.
Whereas in the first book the Bei-Tech attackers remain largely nameless and most threats seem to come from within, this novel leans into new subgenres quite unlike the those of the first book. The first subgenre to this sci-fi is clearly Thriller as 2 dozen highly trained militants are sent to Heimdall to kill everyone on the space station and to pave the way for a drone attack to finish off the Hypatia and the Kerenza colony. A 25th operative is already working undercover on the station. A second subgenre [Horror] emerges from the recreation of the mafia family. To foster their drug trafficking, Nik and Ella’s family farms psychotropic substance-secreting, parasitic aliens in underused parts of the station. These aliens resemble four-headed hydras crossed with lamprey eels and have the cuddle-factor and predatory instincts of Ridley Scott’s aliens. What could possibly go wrong??
The huge Win in this book and series lies in the unreliable narration provided by the dossier files as emails and texts reach Facebook levels of news-reliability.