Stunning visuals lead the way with this dystopian graphic novel of a sci-fi off-planet society of sheltered “citizens” and starved “fringers” rumored to be barely human cannibals. The State-controlled media keeps a tight rein on its image, its heroes and its enemies of the State. It’s all propaganda with the biggest “hero” being nothing more than a glorified soap opera actor. That is, until his popularity makes him an extinguishable threat, too.
This second volume to the L:D world continues to expand the scope of the world as it extends the story. The band of misfits gains some members and side missions while also exposing themselves to other fringer groups in the perpetual turf war beyond the city-state, Atrius. Beyond disenfranchisement, new groups reveal a world of sexual slavery not previously seen.
Interspersed with the “present” timeline, are microscenes from centuries past focused on a female protagonist-hero. Who still lives. And is none other than the present-day autocrat of Atrius. It is this story [akin to watching Anakin Skywalker become Darth Vader] that elevates this 2nd installment. It deliciously complicates the good and the bad, the hero and the villain.
The second volume is available from comixology.com. I received my copy from the author.
As humans push out into space, they encounter only one other sentient species residing in a distant star system. The other species remains pretty passive–until they don’t.
This short tale follows a smattering of bridge officers on an minor transport vessel that gets waylaid by technology that they don’t understand. Suspiciously, an Aquillian ship happens to be primed to help them out in the insignificant stretch of space in which they’re stalled. Immediate warning bells goes off, when they think on the cargo of weapons they transport . . .
Multiple POVs are offered of the brutal infiltration and occupation of the ship. An additional POV is given from someone stationed at the asteroid where the Defiance was scheduled to arrive. Shipping routes are not exactly linear due to the complications of space/time bending travel so the search for the missing cargo ship involves its own detective prowess.
A paradigm is willfully broken here, when no canny hero of the Defiance rises fantastically above the situation. Sometimes, impossible odds are impossible odds. There’s not always a Ripley in the face of an Alien incursion or a John McClane when terrorists create a hostage situation. If The Walking Dead and Game of Thrones have taught anything, it’s that just because a character is liked, it doesn’t mean they’re not expendable.
The newest installment to Lemire’s Descender narrows its focus brilliantly allowing three separate storylines to play out simultaneously across the page, sometimes in parallel and at other times in opposition. The haunting watercolor artwork by Dustin Nguyen pulls the pages together beautifully.
The theme running through the pages is one of self. Even as characters try to work and relate to each other, they may find themselves utterly alone. And yet hope resides in some interconnections between characters that isn’t broken by the vastness of space and the enormity of opposing forces.
The tensions between the artificially intelligent robots and the carbon-based living species in the star system have lined up their forces for all out war. And everybody wants to control the human-sympathetic Tim-21 companion bot that holds a greater AI codex hidden within.
Artificial intelligence is much speculated about and the potential eventual conflict between humankind and Artificial “Life”. Assuming AI can self-replicate and spread like organic beings, or computer worms and viruses, humankind loses its status and master of tech. In this tale, AI ships go rogue and replicate. But more worrying than that, they kidnap young humans to “man” their ships and use mind controlling tech to virtually enslave the living.
Two human brothers are taken at the ages of 3 and 5 and then spend hundreds of years working for The Ship. The younger of the 2 is the narrative filter for the tale which places human social constructs and working language outside of his knowledge base–a knowledge base also regularly cleansed by Ship’s AI. The narrator is a man-child in emotional and verbal development filtering the tale through a pidgen-like language [or perhaps a creole since it seems to be his default language] to express his vantage of the events of the past few hours. Human authorities have taken him into custody to determine what he knows and understands.
For a vignette based on a speculative situation and not a full story, this works to an extent. It doesn’t contain within it a longer story with a plot.
This tale was a quarterly contest winner appearing in Writers of the Future: Volume 33 edited by David Farland.
A beautiful background and strong hook open this sci-fi short story when a woman comfortably awakens in her bed only to see Earth looming overhead through the skydome in her bedroom compartment. Her husband, the only other resident of the lunar biodome [and of the moon, period] isn’t in the bed with her. The casual mystery of his absence turns serious when she finds him in the rainforest dome beneath the chittering bush babies. Dead. Of a stab wound.
NASA confirms that the cameras system winked out hours earlier in an apparent glitch. Suicide? Sleepwalking murder? Or something more nefarious? Gwen keeps her head long enough to reach out the her ex she wronged years earlier. He’s the detective and mystery writer. He’s the ex-fiancee she left for his roommate–her now dead husband on a satellite with a current living human population of 1.
Gwen and Jonas have 5 days to solve the mystery before less caring governmental and business forces come up to clean up and cover up the mess . . .
The tale unspools on multiple timelines after the opening. There’s the baggage-laden history of Jonas and Gwen filtering the lens of the current time murder mystery. Jonas doesn’t sit comfortable in his equal mistrust of Gwen and of government and business interests. Nor has he forgiven his ex-roommate. The pace, tone, and voice make this a winner.
This tale was a quarterly contest winner appearing in Writers of the Future: Volume 33 edited by David Farland.
The Saga series consistently delivers a nuanced tale spanning a multitude of cultures, ideologies, personal motivations, and sexualities. Led by the brilliant artwork by Fiona Staples and the clever and canny writing of Brian K Vaughan, this epic tale follows the star-crossed lovers, their multi-racial lovechild, their few allies, and their many enemies across years and light years and they hop from star system to star system in an effort to get away from bounty hunters and the war that divides their respective races.
This installment sees much of the cast including the protagonists stuck on a comet embroiled in an endless civil war. Religious dogma takes center stage as multiple analogies to Middle Eastern conflicts play out across the page. The cultures of the hero couple also have hands in the civil war as the comet is fuel-rich, and to the winners go the spoils.
Most clear, is that there can be no winners in such a deeply embedded war. This issue is about loss and its many facets. There is loss of innocence. Loss of potential. Loss of loved ones. And even genocide.
This fully realized sci-fi space drama beautifully realized by artist Dustin Nguyen cashes in on all of its previously offered potential with this excellent third installment. The first two volumes of this series centered on a 9-planet star system rife with humans and aliens 10 years after an unnatural apocalyptic event wasted large portions of the planets and populations. In that short-lived but huge event, planet-sized robots called Harvesters laid waste to carbon lifeforms. In its aftermath, the survivors declared genocide on all robots working and living within their interplanetary collective despite the lack of evidence that Harvesters and the system’s robots had any connection.
The story centers on a naive, pre-teenaged companion bot named Tim-22 that survived for the 10 years in a sleeplike charging state on an outer mining moon while the populous was evacuated during a poisonous gas leak. His human “brother,” Andy, evacuated, while his mother died on the moon. Tim-22 is wanted by both robot scrappers and the government for his potential link to the decade-old event.
The episode takes a smart step to the side. The component stories each tell the 10 year back story of many of the filler characters, and it’s fascinating. One could sense the richness of the world and its development beforehand, but now it’s laid out clearly and many characters have stepped up from being mere fillers. Expect the story to proceed forward again when the 4th installment comes out.
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.