Drying Ink

Why You Should Read... | Jim Butcher

noreply@blogger.com (Jacob @ Drying Ink) — Sun, 29 Jan 2012 18:33:00 +0000

You may have heard of The Dresden Files: it's one of the most popular series in urban fantasy today. (Anyone thinking at this: "Urban fantasy? Isn't that just spiffingly sparkly vampires?" will be dealt with separately...) He's also written the Codex Alera - an epic fantasy that essentially pits Romans with magic against a hostile world of enemies. As well as themselves, of course. He's also one of my favourite authors, and if you haven't at least given him a go, you're missing out.This post, the latest in my 'Why You Should Read...' series, is my attempt to make you do just that - flaws and all. So, why should you read Jim Butcher?

- Inventiveness. You might be thinking that that's not much scope for that in urban fantasy where a lot of the real world persists - and you would be wrong in this particular case, but that's not what I'm talking about. What am I referring to? Harry Dresden and Tavi, Butcher's protagonists from the two series, win originally - and inventively. Too many fantasy novels feature a victory of 'x wins because she can make a bigger fireball than y'. Well, that can't happen here: both are limited, and get around said limitations because they make sacrifices, think cleverly, and rarely play fair. (Instead of by divine luck, for instance!) What more do you want?

- Narration. This one's much more applicable to The Dresden Files than the Codex Alera. Essentially, if you're a fan of smart and referencial narrators, Harry Dresden should be a protagonist of choice - he's great fun to read. While Kvothe has the edge in sheer story, Harry Dresden beats him for amusement value every time. And there's another benefit to Urban Fantasy - when Dresden makes a reference (often), it doesn't need two pages of backstory to laugh...

- Length - in both senses. The Dresden Files is a lengthy series, with 13 main series novels out, as well as an anthology (Side Jobs), so there's plenty to get into. On the other hand, individual novels - though getting longer - are a couple of hundred pages, generally on the shorter side. This has benefits. In a genre where four hundred pages can be considered on the short side, The Dresden Files are refreshingly brief. They're also very fast paced: books you can realistically go through in an afternoon sitting, rather than a slog. In other words: perfect reads for trains, buses and helicopters. Whatever your mode of transport...

- Genre-crossing. Both series cross genre boundaries - for instance, Dresden Files is detective fiction with a wizard protagonist. It also develops into partial epic fantasy by the late series, so if you're envisaging predictable subgenre tropes: forget it.

Of course, there are more - and both series do have their flaws. Storm Front , the first Dresden novel, isn't brilliant, but it's well worth reading to #4 if you think they're decent: there's a lot of improvement. Codex Alera is also lengthier than it needs to be, and a little more traditional than Dresden. But all in all? This is a pretty good summary of why I recomment Jim Butcher to anyone with free time... Or, for that matter, without.

Review | The Neon Court - Kate Griffin

noreply@blogger.com (Jacob @ Drying Ink) — Sat, 28 Jan 2012 19:59:00 +0000

If you've been reading this blog for - well, a few days - you'll probably have realised: I'm a big A Madness of Angels fan. It's on more than a few of my recommendations, I wrote an article on its magic system over at Grasping for the Wind, and of course I've reviewed it as well. Well - what about its sequels? With The Minority Council out in March, I think it's high time I caught up on the series.

The third novel in the Urban Magic sequence, The Neon Court both conforms to - and then subverts - our expectations. For those who aren't familiar with the series, it's set in a Neverwhere-esque London, where tradition, custom and belief become magic. So, the blue electric angels - born from the emotion and life poured into the telephony system. And our hero, Matthew Swift, is partly them. (It's an awkward case of possession: let's just say his blood burns blue and he speaks in plurals, and leave it as that). At any rate, Swift is now Midnight Mayor - the mystical protector of London, a job which he thinks himself spectacularly unsuited for. Even the Aldermen, his supposed servitors in his duty, don't trust him.

But maddening as Swift is too Dee and the Aldermen, they need him now. Two of the city's magical communities, the Tribe and the titular Neon Court (did you guess they were coming up?) are about to go to war. Over a 'Chosen One'. Which makes Swift deeply cynical, but he's got bigger worries. An old acquaintance is back. Readers of the series may indeed remember Oda, better known as Psycho-Bitch. But this time she's back with a hole in her heart - literally speaking. And appears to be, well, possessed...

The threat in this one can't quite face up to that of The Midnight Mayor - pretty much everything looks friendly compared to the death of cities. Still, I'm glad that this is the novel which changes the pattern. For one, Swift isn't so fundamentally isolated: he's got a fellow sorcerer, his apprentice, along for the ride. (Penny's a great character in herself, but this is the key point for her inclusion) For another, I can say there are more changes: many of them. The Neon Court doesn't quite 'do a Martin', but it does come near.

You can, nevertheless, still see a familiar pattern. Swift stumbles round into things and runs away, occasionally shoeless. And of course, there's the typically impressive 'I am' speech - and now Matthew has quite a bit to put after it. (His resume has to cover at least half of London's supernatural community and various states of mortality). I'm of mixed minds about this - on one hand, the formula works. It's a lot of fun, and it keeps Matthew from becoming such an overpowerful protagonist that the whole series has to escalate. On the other hand? It is a formula. So while The Neon Court deviates from its predecessors in some ways, in others, it's simply more of the same.

A novel which takes a step away from the status quo, The Neon Court's main flaw is that it doesn't step quite far enough. Nevertheless, it's a fun read. Matthew Swift is a wonderful protagonist, Penny complements him, and magical London is as otherworldly as ever. But I'm hoping that The Minority Council gets rid of that sense of repetition...

Find it here: UK US

Guest Post | Sharon T Rose on Science Fiction in Reality

noreply@blogger.com (Jacob @ Drying Ink) — Thu, 26 Jan 2012 18:54:00 +0000

As you've probably guessed already, it's guest post time! This time, Drying Ink has decided not to extract the living brains of its guests, and as part of that new initiative, I'd like to welcome Sharon T Rose to the blog. As part of the Curiosity Quills blog tour to promote said fantastic website, she's posting on Science Fiction in Reality - welcome!

Why do we love science fiction? What is the appeal of bizarre, unnatural, and strange tales? Why not stay with what we already know and are comfortable with?

To trot out a cliché, Familiarity Breeds Contempt. At the very least, familiarity breeds complacency. When we have the same old, same old, we tend to forget about it. We overlook it, we take it for granted. It no longer has any meaning for us.

Science fiction in all it incarnations steps outside of the usual and presents us with a fresh look at some things that are actually quite familiar to most of us. Star Trek is a classic example: all the issues and conflicts in the far-flung future make-believe were actually very relevant to the modern human audience. Class battles, racism, government, love and/or lust, culture clash, inequality ... those are all issues that you and I deal with in our everyday lives.

Sometimes all we need in order to truly comprehend something is to look at it differently. Numerous sculptures make little sense unless you view them from a particular angle. For a personal example, I had no appreciation of the iconic sculpture "David" by Michelangelo. I'd seen slides of it in art classes and heard it talked up by all my art buddies. To me, it was just a big naked dude. Yawn.

But then I saw its face. I got to go the Academy in Florence and see the David for myself. It was the first exhibit in the hall and the last one I looked at. I didn't want to look at this over-hyped chunk of marble. But I woman'd up and made myself go over. As I walked around the statue, I saw it from angles the pictures never showed. And when I looked up into the face of the statue, I suddenly understood why this was such an incredible work of art. A dozen thoughts captured in stone, subtleties beyond imagining. Michelangelo gave life to stone.

In our day-today struggle to pay the bills, feed and clothe the family, survive the boss, and still manage to enjoy ourselves, we get a narrow focus. We see only one camera angle of life, and that is a flat, two-D image that cannot render the fullness of what is there. Science fiction gives us a way to walk around commonplace things and see them as we've not seen them in a long time.

Scifi gives us a reason to ask, "What if?" It encourages us to wonder, "Why?" It challenges us to demand, "Why not?" Real Life tends to force us into a rut where such questions have no place. Maybe you've always done your laundry on Sunday afternoons. Why not run a load on Wednesday? What if you got up on the other side of the bed (not calling one right or the other wrong here)? Why have you always done things the way that you do them? What would happen if you made a small change?

Fiction in general give us a playground, a testing chamber, to try out new ideas in a safe place. It's a laboratory of sorts, where authors run experiments and readers judge the results. Science fiction pulls us out of "here and now," deposits us in "then and there," and lets us explore those strange new worlds. After we've kicked the tires for a while, many of us realize that this isn't so different from what we've always known.

Consider the old lords of sci-fi: George Orwell, Aldous Huxley, Isaac Asimov, Robert Heinlein. They asked difficult questions about society gone wrong. What if Big Brother won? What if all our attempts to make utopia created dystopia? Just how far can science go before it destroys us? Will religion have a place in the future? These tales are often cautionary and help to awaken us to what might happen if we let go of our attention and forfeit our involvement in decision-making.

Consider David Weber's grand space opera, the Honor Harrington series. He based it on actual history, on Lord Admiral Nelson. The battles mirror actual naval encounters and the galactic events copy the world government actions of the same historical period. It's just a different way of looking at it. What if it happened in the future, in space? Why not make the warrior female? What difference would it make?

In my own writing, I do the same sort of thing: I take ordinary problems and questions and paint them in different colors. A little girl still has to grow up, whether she's human or alien. A young man must decide who he is and what he's going to do with his life, whether he's a plumber or a Wizard. People must choose to do good or do evil. There are in-laws to deal with, livings to be made, angst to get through, and business as usual to establish. Politics are as invidious as always, bad things happen to good people, and happy endings are still possible. Especially if the Main Character (which could be you) decides that her happiness doesn't depend on her circumstances.

The best fiction is the story that you, the reader, can identify with. It's the story that resonates inside you, the one you can't stop thinking about. These stories help you to see your own life and your own world a little bit better. They're the stories that draw you out of the hum-drum and into the possibilities. They give you a sense of a new life that you could have. They warn you of what you have to lose.

Yes, these stories are made up. The science doesn't exist yet and may never come around in any way that materially impacts your life. Aliens may or may not be real. These details are the window-dressing, the sugar for the dose of unpalatable reality. We're bored with our normal lives. We want something exciting, like being taken to a faraway world filled with marvels and surprises. And if nothing else, science fiction gives us relief from the daily grind.

To me, the appeal of science fiction lies in the possibilities it evokes. If I were in that situation, I would do this. I would scramble my eggs this way and toast my bread that way. Perhaps it's a simple thing, but small changes can be so very satisfying. What child who watched "The Jetsons" didn't dream of flying cars and wireless everything? And now we have wireless devices by the gross and we've almost got this levitating thing down. We're closer, at any rate. But would we have asked those questions, tried to create those things, if we hadn't seen it in science fiction first?

The Jetsons had the same struggles that we have. Star Trek dealt with the same issues that we do. History repeats itself every day in the pages of novels. And the possibilities, as they say, are truly endless. Where will science fiction take you today? Why not let it challenge and change your reality, even if for just a few hours? You never know what you'll find if you don't.

This post is part of the Curiosity Quills Blog Tour 2012

Curiosity Quills is a gaggle of literary marauders with a bone to grind and not enough time for revisions - a collective, creating together, supporting each other, and putting out the best darn tootin’ words this side of Google.

Curiosity Quills also runs Curiosity Quills Press, an independent publisher committed to bringing top-quality fiction to the wider world. They publish in ebook, print, as well as serialising select works of their published authors for free on the press's website.

Now, quickly - go check it out!

Blog | A Few Additions

noreply@blogger.com (Jacob @ Drying Ink) — Wed, 25 Jan 2012 18:20:00 +0000

Quick notice! Instead of today's blog post on The Neon Court, which is currently an eldritch horror of which Lovecraft would be proud, I'll settle for telling you some blog news. Hopefully avoiding the trouble of breaking your minds and sanities with the unbearable horror.

Anyway, part one! I've been adding Amazon links to a few of my blog posts, which should hopefully make the actual books easier to find, and you can see what other people have said about them. Almost as if I wasn't the only reviewer worth reading - imagine that? I've also sneakily added them onto my affiliates account, heh. :P (If anyone has any complaints about them, I'll take them down)

I'm also adding in a temporary link to a fundraiser a software company, Icarus Wings (hopefully it'll go better than the myth...), has got going for an app. It aims to be a platform for serial novels, which readers will be able to subscribe to through the reader version. You can find it here!

And finally, what's coming up. I'll be running a feature on a new, multimedia ebook initiative; Fantastical Intentions, Hannah's and my picks of what's best in various fantasy categories, will be up once more tomorrow; and of course, many, many more reviews. Stay tuned and avoid eldritch horrors.

Ebooks | Some Ideas: Beyond the Written Word

noreply@blogger.com (Jacob @ Drying Ink) — Tue, 24 Jan 2012 20:25:00 +0000

Much of the time, ebooks are mentioned as simply the alternative to the written word: e-ink replacing the physical sort, but otherwise, not much different. Much of the time, that's right - but it doesn't have to be. While I'm more a fan of the tactile sort of book, most will concede that ebooks have real advantages. And by using them, as some are already doing, ebook could become more than simply a format. So - here are a few ideas:

For one, ebooks eliminate most of the costs associated with publication. This might seem like mere pragmatism - but it's cost that drives away additional features like illustrations. While Brandon Sanderson's The Way of Kings contained many, it's in a small minority: adding images costs a lot. For ebooks? It costs almost nothing. Now think how many maps that Erikson novel could come with... Mmm. This represents a unique possibility, and one that could make ebooks on occasion a preferable alternative, rather than simply an acceptable one!

Another? Interactivity. Publishers are already jumping on this, with the lines between books and other media becoming blurred. While I'm not personally a huge fan of this - my books are books for a reason - there are definitely situations where it could come in useful. Music; video - not big issues for books, but they're still being done, and in some cases, they could work well.

Length is also less of an issue. Not talking about novels here necessarily - epic fantasies are long enough with limits. But removing this limit, and adding the possibility of hyperlinks for navigation, means that other projects become more viable. Such as - to take an example - much larger anthologies, which are often limited. Imagine the possible selections! The reverse is also true: ebooks can be shorter, and sell less, while staying viable. This means that with the ebook market, we could see more, previously unpublished material: world bibles, awkward length-novellas, and fictional in-world documents all become possibilities.

Review | The Alchemist of Souls - Anne Lyle

noreply@blogger.com (Jacob @ Drying Ink) — Sun, 22 Jan 2012 20:28:00 +0000

The tale of my anticipation for The Alchemist of Souls spans - well, not so much decades, but a good six months. My most anticipated read of 2012 in my End of the Year Awards, you can imagine the ensuing Jacob-to-Gollum transformation when I got my hands on a copy. And after I actually read it? I can only say this: it lives up to every single one of my exaggerated expectations. It started out on my list of books to anticipate, but I have absolutely no doubt that it'll make my list of the best books of this year. It's only January, I know - but trust me when I say Alchemist is just that good.

So, why was I so excited? The Alchemist of Souls is part of the grand tradition of historical fantasy - a subgenre that includes one of my other favourite authors, Guy Gavriel Kay. (One day the Cult of Kay and I shall achieve world domination, but that's another tale). Anyway - historical fantasy, but also, historical fantasy set in the Elizabethan era: an exciting period by any measures. Now add a pinch of what Alchemist is actually about... Mal, a once well-to-do swordsman on the down and out. His new job? Bodyguard to the Skrayling ambassador - a people discovered in the New World, and , of course, possessed of strange magics. As his friendship with the ambassador develops, Mal's past and the Skraylings' abilities could threaten everything they work towards. But for a 500 page novel like this, a single character doesn't suffice. There's also Coby, the traditional girl-masquerading-as-boy. If that seems tired, well, she's also the tireman (costumer) for a theatrical company with major stakes in the contest to be held for the ambassador. So - plenty of scheming on all sides...

But where The Alchemist of Souls really shines is in its execution. From my hasty summary, you can likely spot a number of traditional plot elements. But throughout this 500 page novel, whenever I spotted a hint of cliche; a touch of the traditional, it was subverted: quite a feat! I started by reading only a hundred pages, but by the end of the evening I'd read every single word in the book. And with good reason. This is quite literally a joy to read: the characters live and breathe, the period (though alternate history) is gloriously detailed, and the finale fantastically final - and just a hint bittersweet.

I think the key to the characterisation here is that Lyle makes no attempt to force likeability - it happens naturally. Mal isn't perfect, and he doesn't stand aside from most prejudices of his time. It's this which makes us accept him as a realistic character. And, of course, contrast him with Kiiren, from the more liberal yet genuinely alien Skrayling culture. Kiiren in particular is a wonderful character, especially once his own motives are exposed: yes, he's a kind and likeable character, but he does have a purpose. The one slight 'but...' I have with characterisation here is that some of our characters seem to accept the homosexual relationships more easily than history would suggest.

The Elizabethan period is truly brought to life here - flaws included. This is Elizabethan england in its dirty splendour, and it's wonderful: the seedy would of theatres, petty intrigues, and prejudice. The theatres especially. And of course, historical characters play their own roles - and Walsingham is of particular note. (Ie. He's brilliant, dammit).

Really, what can I say? A rich historical setting, some gloriously ambiguous characters, and a whole lot of unexpected surprise collide to make this unmissable for any fan of historical fantasy. An absolute masterpiece of the genre, The Alchemist of Souls will make my end of the year awards, I have no doubt. Not Kay, but something altogether different, Alchemist of Souls had me wanting a sequel even before the book's release date. Go read it.

...When it comes out. Achemist of Souls is out on the 5th of April here in the UK; the 27th of March in the US and in ebook format. You can preorder it here! UK / US

Review | Kultus - Richard Ford

noreply@blogger.com (Jacob @ Drying Ink) — Sat, 21 Jan 2012 12:16:00 +0000

My second foray into the esoteric steampunk in - well, twice- as many days, Kultus represents a very different read to the other. Thaddeus Blaklok is hard to describe as a protagonist: though a nastier Harry Dresden with violence as first choice comes close. Actually, the more I think on it, the more I realise that that's an accurate comparison. He's even got a worse penchant for property damage!

So we've got our protagonist - and when he's hired by a demon to retrieve the Key of Lunos, we've got our plot as well. This isn't some simple retrieval mission, however: the Key can open gates to Hell. And demons seem remarkably fashionable in Kultus - because everyone seems to want a piece of apocalyptic action. It's one of the fastest paced fantasies I've read, and that's the main cause: the viewpoint isn't simply focused on Thaddeus. We get sections from whoever's got the Key at the time - which makes the plot not so much of a chase, more of a book length brawl with demons allowed.

I'll admit I didn't get into Kultus immediately. For the first couple of chapters, I wondered what all the fuss was about - Thaddeus' methods seemed confined to the mundane. But by the fourth? I was absolutely hooked. Thaddeus Blaklok reveals more than a little towards the end of the book; the (numerous) fight scenes become inimitable fun - and imaginitive as well. What do I mean by that? A thug punching an opponent isn't fun. Harry Dresden hurling a Denarian is. No more explanation needed for that comparison. The ending in particular left me wanting more, but enough was resolved so as not to need it - the perfect balance.

Before I go into more praise, however, I'll give a small warning: this is not for younger readers. Thaddeus Blaklok isn't light on either violence or profanity. If you're fine with, say, Abercrombie or Martin, this shouldn't faze you, but for YA readers, check what they've read first. Anyway - disclaimer over with!

This is fun, fun fantasy - not deep, rarely serious, but fun. And what more do you need? Kultus is what happens when you shove steampunk, ambiguity, and a whole lot of verve together: it's relatively short, very refreshing, and absolutely marvelous to read.

You can get hold of Kultus on Amazon, here: Kultus
Or if you live in the US, here: Kultus (Thaddeus Blaklok)

Opinion | Cliche Attack! And My (Very Subjective) Pet Hates in Fantasy

noreply@blogger.com (Jacob @ Drying Ink) — Wed, 18 Jan 2012 18:01:00 +0000

This shorter post brought to you by the lovely, lovely ARC of The Alchemist of Souls sitting right in front of me. Seriously, I'll end up a professional Gollum impersonator if this continues. So - as you can probably guess, this is a not-so-serious post about my pet hates in fantasy. They're not all universal, but if you'll excuse me, some of them should be! ...Subjectively speaking, of course.


The Wheel of Time can be fun, but... come on, 'The Dark One'?

Antagonists Who Haven't Read The Evil Overlord List

As a book approaches its conclusion, the probability of its antagonist making a mistake from the Evil Overlord List approaches 1. And as a reader, this is very almost as annoying as Naked Empire - if the antagonist loses because of a stupid and cliched mistake, the protagonist hasn't won through interesting tactics or heroic sacrifice or even just a plain fight: he's won through luck. To me? That seems pointless - as well as overused. Likewise, if the villain is chuckling evilly while sacrificing an infant to the Hell God of Mismade Cream Teas, I start looking elsewhere. Antagonists should be empathetic, too! I don't have to like them, but they should be flesh, not cardboard.

Because Destiny Says So

Again, this is a problem I've talked about before - see HERE. It's very subjective: most readers are just fine with destiny telling characters when they can win. Not me: if there's a prophecy that only one person can save the Archetypical Fantasy World, I'd like to know why! And the titular answer irritates me. If the struggle is predetermined and isn't , say, a tragedy where inevitability is part of the focus, then where's the point of the novel? A hero who needs destiny to make him the main character is likely going to arouse a critical glance.

The Completed World

This is, to me, when there seems to be nothing to the world beyond the book: no loose ends, no obscure allusions, no persisting mysteries. Where the novel ends with one big 'happily ever after' and I'm left thinking: 'My, that must have been a shallower world than I thought'. A world only seems real when there's more to it than simple plot demands - and that's why I love authors like Erikson, who have those mysteries and allusions around in the background. Hobb, too, has the chapter epigraphs (something of which I'm particularly fond!). Worldbuilding done well is a joy to read, and this is part of it. As is plot. Does everything have to be tied up neatly at the finale? I don't think so. It cuts out the lure of a further tale, and makes the story seem an artificial construct. (Of course it is - but you don't want to think it!)

Worldbuilding-by-Import

I love historical fantasy - and historically-based fantasy. But when entire cultures, nations, or religions are imported into what seems like a unique world - well, it's a shortcut to my loss of interest. If your world has simply grabbed a culture wholesale, I'm less interested in discovering it in-story: though if it's historical fantasy, that's fine. in fact, it's necessary. But in other fantasies, it hints at laziness, and a lack of depth. Why would I spend time in a shameless Italy expy when I could read about the real place - or be exploring Brandon Sanderson's Roshar instead? Answer: I wouldn't. It also makes me start reading more allusions into the story than are there, which is generally a bad thing.

Review | The Great Game - Lavie Tidhar

noreply@blogger.com (Jacob @ Drying Ink) — Tue, 17 Jan 2012 18:53:00 +0000

The Great Game is likely best introduced by just one word: steampunk. For those unfamiliar with the term, you've got a lot to look forward to. Steampunk is a vision of a past that never was: Victorian technology taken to the extreme. Clockwork computers; airships; and lots of gleaming brass prevail! Along, of course, with more than a few Victorians... It's the fantasy of an alternate past, and The Great Game's setting is very alternate: the British Empire is ruled by alien lizards, Mycroft Holmes runs the shadowy Bureau, and France is run by a council of automatons.

Sound different? It should. And it also sums up the whole attitude of The Bookman Histories (of which The Great Game is the third novel): bold steampunk elements, an eclectic setting, and more than a few (artfully reinterpreted) literary - and real - characters. Harry Houdini as an agent of the Bookman; Sherlock Holmes a retired Bureau operative (who does indeed keep bees); and Charles Babbage is - well. But what about the plot?
The story is told from a number of different viewpoints on the action, which keeps it fresh - but just to mention who they are would entail some spoilers. But we can safely say that it all starts with Smith. An obtrusively unobtrusive name - which fits, as he's an agent (closer to assassin) for the Bureau. But when Mycroft Holmes is murdered, along with another top agent, Smith is brought back from retirement to find the killer - and the plot. The other perspectives, meanwhile, provide a less bland perspective. Smith is fun to read, but his identity as a rather shadowy figure make him less engaging in himself, which the others remedy.

It's not a character driven story, however - although they pique interest, we never remain with a single character for long. It's not even driven by the events and mysteries - which are alien, and occasionally just incomprehensible. The only conclusion is that it's simply driven by experience: the discovery of how a particularly loved character comes in or is altered in addition, the bold steampunk additions (Lizardine Empire, anyone?), and what on Earth happens to Harry Houdini. (Don't ask. I won't tell.)

Though it's a lot of fun, the ending is likely this novel's weakest point: there's little resolution, true to my description of The Great Game as a novel of exploration. Things happen - but there's no huge climax, or at least not one that's built up to for a single character, so there's not a lot of emotional involvement when the end finally comes. This is likely steampunk epitomised in the form of a whistle-stop tour - just don't expect much high drama when things take a turn for the serious.

You can find The Great Game on Amazon.com: here
Or on Amazon.co.uk: here

Best Of... | Fantasy Antiheroes

noreply@blogger.com (Jacob @ Drying Ink) — Sun, 15 Jan 2012 15:43:00 +0000

Conventional heroes - or just protagonists - are frequently good reads: but sometimes they're simply too unambiguous. Sometimes you want a character doing the right thing for the wrong reasons; or the wrong thing in pursuit of a better cause - or something altogether different. In either case, what we want is an antihero. Or at least a protagonist with antiheroic qualities. Because really, they're just a bit more interesting: and much harder to predict. And thus, in my traditional and predictable fashion, here's my list of my favourite antiheroes in fantasy:

Kallor (The Malazan Book of the Fallen)

Since I've been recommending the Malazan series earlier in the week, I thought Kallor was an appropriate addition. While some might argue he's more of a straight-out villain, Kallor definitely has antiheroic qualities: just see his motives with Silverfox! On those other hand, he's also a human monster who massacred his own empire so it couldn't be taken from him. Nasty enough yet?

He has some of the best moments in the book; he's the immortal High King of Failure; and while you might hate him for what he does, it's also impossible to deny the moments of sheer awe which crop up in his presence. Frequently. Cynical, bitter, and occasionally straight out evil, only Kallor will give boasts like:
‘I walked this land when the T’lan Imass were but children. I have commanded armies a hundred thousand strong. I have spread the fire of my wrath across entire continents, and sat alone upon tall thrones. Do you grasp the meaning of this?’
‘Yes,’ said Caladan Brood, ‘you never learn.’

The Blue Electric Angels (The Urban Magic series)

In a world where life gives birth to magic, the blue electric angels are the spirits of the telephony system - and as such, they're just a little amoral. Sharing Matthew Swift's body with the former occupant, they're generally quiet: until you realise that they're not benevolent, but childlike. And they're fond of freedom, not restraint: 'set the world on fire' freedom, as one character points out. So while Matthew might be a normal, vaguely heroic protgonist, the co-owners of his body most certainly are not (hah!). In fact, they're closer to thrill seekers...

Which, as you can imagine, is quite interesting. They're not exactly antiheroes: but their distaste for the shadow, Hunger, seems to be more aesthetic than moral!

Prince Jorg Ancrath (Prince of Thorns)

More recent acquaintance than old friend, Prince Honorous Jorg Ancrath is also the nastiest antihero I've ever read. (Coming from a reviewer? That means a lot). While his mother and brother were murdered, Jorg hung on the thorns, and that taught him a lesson: to play the game. Now, he treats humans as pawns - and worse. He's kind of a hands-on, sadistic Petyr Baelish. With all the qualities that entails.

On the other hand, he is trying to unite a shattered empire and take revenge for his mother's brutal murder - and he is the leader of a ragtag band. Although they're more marauders than heroes. Jorg is clever, nasty, and enormous fun to read - he cares little for the lives of his own, and so his plans are often imaginatively lethal...

Review | The Fuller Memorandum - Charles Stross

noreply@blogger.com (Jacob @ Drying Ink) — Sat, 14 Jan 2012 22:04:00 +0000

Charles Stross' Laundry series is one of the hidden gems of modern SFF: occupying a rather unique position somewhere between spy fiction, comic fantasy and Lovecraftian horror. The Fuller Memorandum is the third novel in the series - and also the one that put an end to my pretenses at non-addiction.

The series is basically the proposition that if there really were Lovecraftian abominations - well, there'd be a governmental department to deal with them. The Laundry is the British version, and Bob Howard is one of its employees. With the years of Case NIGHTMARE GREEN - or 'when the stars are right' - coming up, things are getting tougher: and that's before he ends up involved in a fatal accident with a decommissioned occult aircraft. (Don't ask). But now Angleton, his boss has gone missing, there are cultists on the streets, and Russia's taking an interest...

And of course, said cultists are Lovecraftian cultists, not the happy fun variety. Although to be fair, I haven't seen many happy fun cultists. Just a side note, that.

Anyway, review time! I love the Laundry for its bureaucratic - and often over the top - approach. Yes, you might have to fill in a form for everything: and then you find out they've installed an electronic version of Medusa's stare in every security camera in England. Wow. It's the ultimate example of 'good is not nice' - just owning the materials for Mo's monster killing violin puts you in breach of the Human Tissues Act: but they are fighting eldritch abominations... At any rate, Bob Howard is always fun to read, and his interactions with Angleton, his boss, are often hilarious. Angleton is staid, seemingly never leaves the building, , and refuses to trust anything newer than magnetic tape. (Which for Bob, formerly IT staff, is a nightmare...)

So when Angleton disappeared, I got undertsandably worried. One of a series' best characters, missing for a book? Thankfully, they were unfounded: the series is as good as ever in The Fuller Memorandum. And we get a fair bit more Angleton, anyway... So, with that worry out of the way - what's it like? The Fuller Memorandum is likely the best installment yet. While The Jennifer Morgue had the best revelation yet - the ending made both unexpected and hilarious for it - its sequel simply has the escalation to surpass it. In other words, it simply has more of those 'wow' moments. Case NIGHTMARE GREEN becoming more than a distant apocalypse; intrigue in the Laundry itself; and a LOT about Angleton all play into them. But really, most are simply Bob and Mo's development.

The climax and ending of this novel was one of the best I've ever read. Did I mention I loved it? I won't spoil anything, but Jennifer Morgue was nothing compared to this. And from what I've said already, you can probably guess I recommend this novel with a vengeance. There's one condition, though: read the others first.

You can find it here: UK US

Why You Should Read | Steven Erikson

noreply@blogger.com (Jacob @ Drying Ink) — Thu, 12 Jan 2012 18:31:00 +0000

If you've been reading this book for longer than, say, a few minutes, you've probably guessed my secret: I'm a big Steven Erikson fan. The Malazan world is something like - well, nothing like a second home: it's insanely dangerous and has Kruppe in it. But it is a world I like to read about.Steven Erikson can be an acquired taste... But here's my argument for why you should give him a go:

- Complexity. Sometimes, it's a pain - and sometimes, like here, it's a joy. Far from meaningless complexity, the Malazan Book of the Fallen's is rather meaningful (with an exception or two!) - as a reader, it's great fun to spot the hidden links, the allusions; the conspiracies. Especially since Erikson's world is so detailed: there's a lot to discover.

There' also a complex story going on. And the good thing about that? It feels more real; less a superficial story. Real life is rarely simple, and the Malazan series is never so. And that's fun!

Well, most of the time.

- Diversity. A slight tangent: one reason I don't read much comic fantasy is that so much sticks to a single tone; a single focus - humour. Which is great - in small doses! The same applies to any series: for a long term read, you want a mix of tones or characters, many foci, not just one. The Malazan series is perhaps one of the best examples of this. It's so large scale that it's a love-or-hate factor, but it's also very diverse - there's humour, high drama, and tragedy in a single novel. The same applies to its characters, and even its world: elf subversions to the technologically minded dinosaurs, the K'chain Che'Malle...

- Characters. Erikson has some of the most distinctive characters in fantasy - and let's face it, who doesn't love this exchange?

‘I walked this land when the T’lan Imass were but children. I have commanded armies a hundred thousand strong. I have spread the fire of my wrath across entire continents, and sat alone upon tall thrones. Do you grasp the meaning of this?’
‘Yes,’ said Caladan Brood, ‘you never learn.’

Kruppe may be yet another love or hate character - a rotund genius who insists on speaking in the third person - but with the sheer size of the cast and series, there will unfailingly be someone you'll love.

- Epic. There are two authors I go to when I want emotion in my epic - tragedy, glorious remembrance, and the rest. These being, of course, Guy Gavriel Kay and Steven Erikson. What can I say? Simply read Memories of Ice and you'll see my meaning. Part of this, of course, is the sheer scale of the Malazan series which enables him to do it. But it's not drama by numbers - you'll genuinely be attached to the characters involved. And if I need to say more than that, you're probably not human.

And those were my top points for why reading Steven Erikson is a very, very good idea! Of course's he's not for everyone. These are literal door- or possibly elephantstoppers, with most around 900-1000 pages in paperback. The cast is huge; Erikson's philosophical narrator in Toll the Hounds can be offputting; and not everyone likes the ending. But for me, these reasons are enough - so why not give Erikson a go? You probably won't regret it.

Blog | Review Policy Clarifications

noreply@blogger.com (Jacob @ Drying Ink) — Wed, 11 Jan 2012 19:26:00 +0000

Well, time for a few of those: my review policy has never been very substantial - I review what interests me - but it does need a little expansion. Before I begin, let me just say this. (Not that. This). I am a reviewer - that means that I enjoy, and want to read books. My review policy is there because I don't have time to review everything, or to reply to huge numbers of review requests that I can't accept. It is not there because I don't want to read novels! I love to review books, and to be offered that opportunity by authors is always, always welcome.

What I Review: I review anything in the SFF category. That means science fiction, fantasy, steampunk, urban fantasy - and any other subgenre you can name. My definition is rather vague: I don't want to exclude some great reads, but if it's too far from this area, I generally can't review it on the blog. For example, I would review a detective novel with speculative elements, but not, for example, a biography!

Publishing Status: I accept ARCs as well as finished copies, at any stage of release - whether out for a year or to be released in a few months. One clarification, though: a review request asking me to buy your book won't be accepted. I buy or get from libraries a number of the books reviewed on here, but asking me to review a title that I have to go out and buy is just... Odd. If I want to buy and read it, I'll do so without prompting! (I've only received one or two of these, but this is one of the really offputting factors. Don't do it.)

I don't accept self-published books - sorry! I realise there are some real gems, but I don't have time to go through the majority that, well, aren't (what with the books I already receive). I will review books from both larger publishers and small presses.

Type of Copy: I do review both ebooks and hardcopies. Although I do generally prefer a physical copy (there's something wonderfully tactile about a book - just have a look at my posts on ebooks if you want to see an attempted explanation why), if you would prefer not to supply a hardcopy, I'll certainly accept an ebook for my Kindle. I can read .pdf files, but they're slightly harder to read on a Kindle than other formats, so .mobi is best for me if possible.

Other: I run interviews, guest posts, and pretty much every type of feature you can think of! Feel free to ask to write on a certain topic. If youre requesting a review, I'm also fine with posting on a specified date (such as release), so just ask me if you're interested. I review all books received honestly. If you've supplied me with an ARC, I'm grateful! - but it's an obligation as a reviewer to review truthfully, as I do, so it won't influence my review.

That said... Review requests welcome, and I'll be catching up on my existing queue over the weekend.

Review | Advent - James Treadwell

noreply@blogger.com (Jacob @ Drying Ink) — Tue, 10 Jan 2012 18:46:00 +0000

Scheduled for release next month, Advent is a YA urban fantasy of a very non-urban kind. For one, it's set in the countryside. For another, the magic of Advent is of the older tradition: mysterious, frequently deadly, and often fuelled by Faustian pacts... Which is fortunate, because Faust himself stars prominently (with a focus on a more obscure part of the legend - as well as a very different character interpretation). But said magician isn't the protagonist - so who is?

Gav sees things that aren't there. Well, one thing: his (until now) silent companion, Miss Grey. His parents dislike him (where have I heard that become?), and while they're away, Gav is sent to live with his aunt, Gwen. Who has disappeared. Oops. Things are waking up on the estate; Miss Grey has started talking; and something is being hidden - but what?

The first thing I'll say is that this is definitely a YA book, and so I'd recommend it far more to children and teenagers than adults. The second thing is that despite that, it's very well written. This novel belongs to a class of books which are essentially reactions - the protagonist, Gav, isn't moving the plot, and for most of the novel is responding to the events in play. Mainly by running away - somewhat of a tradition! Whether you like this depends on your personal taste, but the events are interesting enough to motivate it. Magic is returning to the world, his aunt has disappeared, and she's left a rather cryptic list that seems to hold the clues to what's going on: interesting enough for you?

In terms of character, I have to admit that Gav was a little unsympathetic for my taste - he was largely defined by what had happened to him, rather than being a more active character. His relationship with Marina, the small girl on the estate, also seemed one-sided. Despite that, younger readers will likely empathise more with the hero - and for those who feel the same way as me, the scenes from Faust's perspective will provide a far more interesting viewpoint. Far from the typical power and knowledge hungry scholar, Faust is practically a holy man - his power expanded by his possession of a particular ring... Which trinket drives the plot? Take a wild guess.

The side characters, likewise, provide more interest - as does the setting. Brought to life by an expert hand, this definitely is one of the novel's superior aspects. Advent is definitely a novel recommended for YA readers looking for a more 'mysterious', darker fantasy - though not as much for adult readers, who will likely have my problems. An original take on the Faust legend, a compelling setting, and genuinely ambiguous magic combine to make this a great read for young adults.

Review | Prince of Thorns - Mark Lawrence

noreply@blogger.com (Jacob @ Drying Ink) — Mon, 09 Jan 2012 18:06:00 +0000

Prince of Thorns was one of the most acclaimed debuts of 2011 - and of course, I entirely forgot to read it. Whoops. Now I've picked it up, it's clear that it deserves its accolades. Let me give you a small warning first, however: this is not a light book. The titular Prince is Honorous Jorg Ancrath - not some light and happy creation, but the darkest antihero I've ever read. And coming from a reviewer (eg. me), that means... Well, a lot.

While his mother and brother were murdered, Jorg Ancrath hung on the thorns. To Jorg, the thorns taught a lesson: and now he intends to play the game. Jorg, with the aid of his band of ruffians, intends to win the War, fought among the remants of a broken empire. But first, he needs to win back his title as Prince of Ancrath... Jorg is cheerfully amoral, and his companions are often worse. It soon becomes clear that even the kings aren't the players of this game: magic is involved, as well as the remnants of the old world.

The setting of Prince of Thorns is an odd - but winning - conbination of post apocalyptic and fantastic. Yes, there is magic - but some things taken as magic by the characters appear to have more of a root in science... This becomes a key part of the lot later in the novel, and in fact really surprised me. (Believe me - you won't be anticipating Jorg's methods.)

But where Prince of Thorns really wins out is in character - one in particular. Jorg's band are well-drawn, yes: Nuban in particular is key. But at the heart of its success is the titular prince. Jorg is by far the nastiest hero - or antihero - I've ever read. While Glokta, for example, feels distaste, Jorg purposefully cultivates his nastier side. He's still somewhat sympathetic: his family were murdered, after all - but if you like your protagonists to be less morally ambiguous, Jorg definitely isn't for you. Me? I love him, but I wouldn't want to read this kind of character every day. (There may be side effects...)

Prince of Thorns, all things considered, is a tight, refreshingly dark fantasy: a mix of epic and (anti)heroic. It's not for everyone, as I've said, but if you're a long-term fantasy reader... this might be just what you need to cleanse your metaphorical palate. Well, let's leave that metaphor before it gets overburdened! At any rate, it's already shown the ability to surprise, so its sequel could go just about anywhere. This is a well-written, tightly plotted book, but don't expect it to get comfortable - and look out for King of Thorns later this year.

Want a copy? It's on Amazon.com here and on Amazon.co.uk here.

New to Fantasy | Where to Start

noreply@blogger.com (Jacob @ Drying Ink) — Fri, 06 Jan 2012 17:24:00 +0000

So you - or a friend - are looking to get into fantasy (or maybe science fiction). The problem is, the genre's a big place: strange subgenres, unfamiliar names, and a tendancy towards long-running series can make it difficult for new readers to know where to start. Well., this is one particular attempt to remedy this: my guide to starting the genre. As always, it's subjective!

What To Keep In Mind:
Fantasy and science fiction are far more varied than an outside impression might suggest. Pop culture leaves fantasy as Lord of the Rings, and SF as Star Trek. Is that accurate? Not a bit of it. Lord of the Rings is a classic fantasy, yes, and some still follow its mould. But the genre has grown and developed massively since then. You can get fantasy set in the modern day (urban fantasy); fantasy crime, fantasies of Victorian-style brass and steam (steampunk), even low magic fantasy (the aptly named 'low fantasy'). And, of course, far more... If you're interested in any of these, there's more information in my Five Minute Guide to Subgenre.
So, why is this important? Simply this: if you're going to try out fantasy, try more than one type to find your tastes.

Classics or Modern?
Some fantasy readers would recommend starting with the classics - and of course with the famous Tolkien. I would actually advocate the opposite. The older books down really reflect the genre 'as is', so more modern titles will give you a better feel. One method of choosing where to start is to think of what you already like to read. Enjoy crime? You'll probably love the Dresden Files - or China Mieville's The City and the City. You can read more about possible introductions in that way at my article, here.

Alternatively, you can...

Start With The Best?
Maybe. Some fantasy works are better to approach with some context - just like you wouldn't jump straight into any sort of referencial work without any familiarity! However, most are fine to start with, although I'd recommend standalones rather than series for your first reads. In that case, why not try some of these:

- The Crown Conspiracy is an epic in the more traditional vein - and it's a lot of fun. A pair of thieves, Royce and Hadrian, are blamed to a crime they didn't commit: and in true fashion, their attempt to evade the punishment (death) turns into far more than they'd envisaged. This is a lot of fun, with many tropes subverted - or taken up to eleven.
- A Madness of Angels is fantasy in the city - to wit, London. Where mudane acts acquire mystical significance, the hours spent on the telephony system have given birth to the blue electric angels, for example! But urban sorcerer Matthew Swift has a problem: he's woken up in an unfamiliar London... with eyes of the wrong colour. This is a great place to start if you're into urban fantasy - A Madness of Angels is atmospheric and has one of the best hooks I've read. It also introduces itself very well, and is great for newcomers.
- Warbreaker. This will give you the feel of one of the newer kinds of epic fantasy. Sanderson, the author, is known for his detailed constructed worlds, and this is one of his few standalones. If you want magic to be logical; the world to be dailed and different, try Sanderson. The story's pretty good too.
- Tigana. If you want your books to be not fun, but beautiful, Tigana is likely your kind of read. A historical fantasy based on Italy, Tigana is the tale of a nation stripped of its identity, and the endeavour to regain it by a band of protagonist. Let's not call them heroes: because this novel is known for its grey and grey morality.

Read those, or want others? Well, just take a look back through my review archive, or my 'Best Of' series. There's plenty out there!

Review | Dead Harvest - Chris F. Holm

noreply@blogger.com (Jacob @ Drying Ink) — Thu, 05 Jan 2012 18:06:00 +0000

That cover embodies nostalgia. Cover aside, Dead Harvest is an urban fantasy of a very particular kind: dealing largely with angels, demons, and the afterlife. Which, as it turns out, is pretty much here. When Sam Thornton died, he became a Collector for Hell - taking the souls of the damned. But now he's been asked to take the soul of someone who seems - well, innocent. Unable to take the soul, which would lead to war between Heaven and Hell, but pursued by both sides (and the police), Sam goes on the run with Kate. With angels and demons skirmishing in the streets, Sam needs to find the real culprit. Fast.

What I like about Dead Harvest is its willingness not to go overboard with the supernatural side: to run with the 'urban' side of the urban fantasy, if you like. It means that the powers aren't extreme (though they are dangerous): and that wit plays far more of a role than magic. This fits with the novel's structure. It's plotted as a lean crime novel, and that it's written from the perspective of Sam, who would typically be a minor villain - well, that just makes it cooler.

I also like Kate, the accused. She's not the typical victim. She's a character in her own right, and most of all, makes mistakes. Doesn't sound a good thing, does it? But these sorts of characters can often become passive, their only flaws being imposed on them, and that Kate escapes this trap is definitely an advantage. A scene with one particular demon comes to mind... Sam, however, is the real star (along with Merihem - but you'll meet him later). An unconventional hero with an unusual motive, he has more qualms than his adversaries - and is at a corresponding disadvantage. Which, of course, adds to the tension, and his likeability (already scored high).

This isn't high fantasy, though. The angels and demons are more human than divine, and while that adds to the urban, non-deus-ex-machina feel of things, fans of high magic, glorious quests and the usual trapping won't be getting much of that here. But if you're expecting those, you probably haven't read much urban fantasy either... The mystery is less enticing than the chase of the novel, however. Thinking, it's not enormously difficult to work out the culprit: it's the actions which provide the excitement.

This is a short, action-packed urban fantasy with the style of crime fiction and a few of its elements. A talented debut; this will keep you reading late into the night - and possibly beyond. I highly recommend this for fans of more intelligent resolutions than magical firestorms - so any Felix Castor or Dresden Files readers, look no further. There are a few problems (when aren't there?) - the mystery isn't as engaging as it could be, for one - but as a whole, this is a fun, fun read. And I'm looking forward to the sequel.

Why You Should Read | Historical Fantasy

noreply@blogger.com (Jacob @ Drying Ink) — Wed, 04 Jan 2012 18:18:00 +0000

Normally my Why You Should Read... posts are focused around individual authors. Today, it's a subgenre. Why? Well, for one, historical fantasy is underread. Everyone reads the latest epic fantasies; urban fantasies, and even steampunk is becoming more mainstream. But historical fantasy? Not so much.

So, why should you give historical fantasy a go?

- The in-jokes. History isn't often amusing in itself; but the opportunities for allusions and dramatic irony that the past provides are endless - especially since the reader is aware of future events. With periods you know well, this can end up hilarious. With those you don't? Not so much. This might be one of the cases where it is better to stick to what you know...

- The worldbuilding - or rather, lack of it. With historical fantasy, almost all of the world already exists in the reader's mind, more real than any constructed setting could ever be. This means that for those of you who dislike lots of worldbuilding (personally, I love it), you can jump straight into the action. Or at least the plot.

- Guy Gavriel Kay writes historical fantasy. That in itself is a reason.

- Alternate history. Historical fantasy can explore, via alternate history, what would have happened if the Romans had possessed dragons. I mean, is there anyone who hasn't thought about this in their history lessons? I think not. (That was one silly example, I admit. But alternate history is in itself an interesting genre: I'm sure you see my point)

- The history. It might seem obvious, but the 'history' in 'historical fantasy' is a great setting in itself - some periods of history are fascinating, and to read either fantasy or historical novels set in them is always interesting. Take Aliette de Bodard's Obsidian and Blood series: set in the Aztec civilisation at the height of its power.Who wouldn't want to read about that?

- The variety. 'Historical' might be a subgenre, but all it describes is a setting. You can have every other type of tale you like to read inside it: Elizabethan fantasy mysteries, Victorian steampunk, you name it. And if you can read what you already enjoy in a different setting, it's hard to give a good reason for disdaining the historical.

So, where should you start? Guy Gavriel Kay's Tigana is a beautiful novel - loosely based on Italy, and about the rather grey-vs-grey struggle of a band of heroes to regain their country's identity. Of course, there's much more than that. Aliette de Bodard's Obsidian and Blood series is a set of Aztec murder mysteries, told from the perspective of Acatl, a priest of Lord Death. Non-traditional heroes, a lot more Aztec culture than you've ever seen, and a nice dose of backstabbing and treachery combine to make these great reads. Pretty much anything steampunk also comes fairly close.

Article | Drying Ink Picks For 2011

noreply@blogger.com (Jacob @ Drying Ink) — Mon, 02 Jan 2012 15:55:00 +0000

So, 2011's over - and the year of endless apocalyptic predictions has arrived. Which means, of course, it's time for a retrospective! Not to mention a few deserved accolades. This is my list of favourite 2011 picks from various (and occasionally arbitrary - though I hope you're used to that by now) categories. Just to clarify, although most of the choices are 2011 releases, my criteria is only that I've read it for the first time in 2011.

Most Eclectic: Empire State
Okay, so I bandy the word 'eclectic' around. A lot. Well, I like eclectic books - the unusual mixes, the crazy combinations, the sheer unpredictability. But there has to be a 'most eclectic' somewhere, and for 2011, there was a clear winner in my mind: Empire State. A tale of an alternate New York and its twin, subverted superheroes, robots, pulp-style detectives and more betrayal than you can shake, well, a Baelish at. Just with that mix, it's unusual, but when you add in the plot, with all of its mysteries and underlying gambits, it definitely makes most eclectic. And for all that, it's a shortish, fast-paced read. What more can you ask for?

Find it here: UK US

Best Ongoing Series: The Dresden Files
2011 saw a number of great continuing series, including Philippa Balantine's great Order books - a close second. But out on top for me was The Dresden Files, with the release of Ghost Story back in the summer. I've been a Dresden fan for a while - Harry Dresden is a fantastic protagonist - and Ghost Story really kept the series going, completing the somewhat cliffhanger ending of Changes. It included some real character development for Murphy and Molly, took the arena to a place Dresden was uncomfortable with, had one of the best villain gambits in a while, and most of all - it ended incredibly. (Admittedly I can't go into details on any of these - spoilers, people! - but I think we can agree that The Dresden Files deserves its accolades).

Find it here: UK US

Best Sequel: Johannes Cabal - the Fear Institute
There have been a few sequels I've loved through the year, but none match Johannes Cabal: The Fear Institute in managing not only to match, but surpass their predecessors. A wonderfully dark comic fantasy, the series features as its protagonist the cold blood- sorry, sang froid necromancer Johannes Cabal, who is hilariously (and nastily) pragmatic. As well as snarking about it... The Fear Institute really makes the series' connections clear, taking Cabal into the Dreamlands (which Lovecraft fans will recognise). With Nyarlothotep apparently paying attention, a terribly unscientific landscape, and far too many zebras, this seemingly doomed expedition really showcases Cabal's talents. While I loved The Detective, The Fear Institute was, I think, even better (though I'm still hoping for more Leonie Barrow, who as the perfect contrast to Cabal was a wonderful character).

Find it here! UK US

Best Urban Fantasy: Master of the House of Darts
Another 'eclectic' combination - my, how I love that word - Master of the House of Darts is the third in the Obsidian and Blood series of UF Aztec murder mysteries: with a lot of magic, Aztec culture and politics thrown in. While there were a number of great urban fantasies this year, this wowed me with its unusual setting, its premise, and most of all, its execution - the Aztec world is seamlessly introduced; its customs seemingly natural, and the mystery itself is integrated with this. This is a wonderfully unusual urban fantasy, and its characters - especially Acatl - step far, far beyond the stereotyped 'Aztec human sacrifice people'.

Find it here! UK US

Best Under-Read Novel: Tobacco Stained Mountain Goat
Some novels simply aren't as well known as they deserve to be. Andrez Bergen's Tobacco Stained Mountain Goat definitely counts. Set in post-apocalyptic Melbourne, it immediately stood out with its quirky (constantly referencing film, for one!) narrator and protagonist, Floyd Maquina. A more conventional noir hero set against a post-apocalyptic dystopian world, Floyd's story is genuinely unpredictable - and emotional. There's a whole range of tones packed into the novel - avoiding one of dystopia's main problems - and in the end, Tobacco Stained Mountain Goat really impressed. If you're looking for an unusual, quirky, yet genuinely powerul novel, this is an excellent choice (why I chose it!).

Find it here! UK US

Best Surprise: Daughter of Smoke and Bone
...And then there are the novels you simply don't expect. The books which subvert your expectations - or confound them altogether. For me, there's a clear winner: Daughter of Smoke and Bone. When I first picked this up back in the summer, my first expectations were that it would be romance-focused - and while some of that applies, it was also so much more. Far from the light urban fantasy I expected with the typical paranormal tropes, it began to show signs of an epic - then more. I've talked about my secret reviewer plot senses before. Well, Daughter confounded them: I genuinely didn't expect the revelations that came. By the way: it's also a very, very good book.

Find it here! UK US

Best Epic Fantasy: The Riyria Revelations
Not exactly a surprise - I'd heard a lot about the Riyria Revelations, and it was a pleasure to find that they lived up to all my expectations (and more). Traditional fantasies can still be, well, fantastic: and this is a perfect example. Its two thief protagonists, Royce and Hadrian, make one of the great duos I've got a conistent soft spot for. It's also, well, just a lot of fun. With tropes either subverted (or turned way, way past 11), this is traditional fantasy without the tiredness.

Find it here: UK US

Best Horror: The Return Man
What can I say? Zombies, action, and overlapping schemes make this a sure winner. Once a web serial novel, The Return Man is due for 2012 release, chronicling the incursion of Henry Marco into the Evacuated States. The titular 'return Man', Marco puts the dead to rest - forcibly. Hired by the government, however, it becomes clear there's more riding on this particular corpse's fate than any other. (And before long, it's not just the US government interested, either!).

Find it here: UK US

Most Anticipated for 2012: The Alchemist of Souls
...It's Elizabethan historical fantasy, looks to have a great concept, and it's published by Angry Robot. What other guarantee of quality do you need?

Well, that was 2011 - a great year for SFF all round! Let's hope for even more from 2012 (before the end of the world, anyway).

Review | Equations of Life - Simon Morden

noreply@blogger.com (Jacob @ Drying Ink) — Sat, 31 Dec 2011 12:17:00 +0000

The cover... It burns. Aesthetics aside, Equations of Life is a book which makes me reconsider my gloomy views of the post-apocalyptic. The world of the Metrozone trilogy might be a nuclear wasteland, the titular Metrozone the last city in England, but it's also a lot of fun to read about. A short, fast-paced technothriller, Equations of Life's success is due in no small part to its unlikely hero: Samuil Petrovitch.

A physicist (on the trail of the Unified Field Theory - but then, who isn't?), an immigrant, and possessed of a knack for not getting involved, Petrovitch has lived on his scholarship funds - working with his companion, Doctor Pif. So, what happens? His knack gives out: he saves Sonja Oshicora from kidnappers, and ends up in a war between the city's two crime organisations. But there's more. Threats of nuclear war, a quantum computer, a very militant nun (Maddy), and something called the New Machine Jihad...

Sometimes huge escalation in conflict scales makes a novel ridiculous. Sometimes, as in Equations, it just makes it fun. It's done with imagination, verve, and careful lampshading - and it works out brilliantly. I mean, a physicist against the world: why not? Petrovitch is a fantastic protagonist. Clever, competent, but also shadier than he looks - and willing to make some tougher decisions. (He's also, on occasion, hilarious). The side characters are also well developed and interesting, especially when confronted with Petrovitch's chaos - and his even more chaotic plans... Although the relationship with Maddy seemed rapid, the brevity of the book as a whole makes this acceptable; while other characters, like Oshicora himself, are wonderful.

This book is impossible to predict: and not in the 'merely very improbable' way. So many new events, objects and characters are introduced later on that developments are entirely unpredictable. This isn't a slow, thoughtful book, though - so it's no deus-ex-machinae for you, especially since the additions rarely help Petrovitch... The ending? Well, it surprised me. Don't come expecting too many familiar tropes, either. While some are played straight - in the beginning - others are subverted, again adding to the novel's unpredictable nature (although I'm not much of a post-apocalyptic reader, so a dedicated fan might see more of the familiar - I don't know).

All things considered, this is a refreshingly fast-paced and unconventional read. If you're looking for something lighter - physically or otherwise - this is likely for you; likewise, if you're a fan of unusual protagonists, or smply want to avoid the passive, this is also a great read. It may be short by the standards of, say, epic fantasy, but this is a great addition to your shelf.

Article | My Problem With Prophecy

noreply@blogger.com (Jacob @ Drying Ink) — Sat, 24 Dec 2011 15:23:00 +0000

Originally I had a list of suggestions for the apocalypse today - but having saved that to wish you a happy New Year, I've skipped instead to... Prophecy. It's a frequent trope of the genre, from the mainstream (like Harry Potter) to the classics, but it has some major problems. Or rather, I have some major problems with it, threatening a premature termination of our relationship. So, why do I hate prophecies so much?

Over-Revealing; or, Why Read The Book?
Prophecy's often used heavy-handedly, and with books with a central conflict, often reveals the outcome of said conflict. But if we know the hero wins; how the hero wins; and who will die for the hero to win - why read the book? It takes away the tension - and I'm looking at you, Wheel of Time. It also has a tendency to make dilemmas irrelevant. If we know which choice is made, spending fifty pages pondering it seems pointless. This isn't to say that this type of prophecy is always bad: as always, there are exceptions. If the novel's a tragedy, the characters are trying to fight said prophecy, it's unclear, or it's simply wrong - well, those are great subversions. Played straight, though, it's one of my big problems with prophecy.

Power; or, Why Don't Seers Rule the World?
Okay, so you've got your detailed prophecy. Why do only the heroes use it effectively? If antagonists try to use it to their advantage, it's misinterpreted or mistaken (for a more mainstream example, Voldemort in Harry potter) - and everyone else forgets about it alltogether. Giving your protagonists unfair advantages every time makes them reek of unrealism - as well as a few 'author's darlings'. For that matter, if prophecy is so accurate, why are the seers living in shacks or caravans? Why aren't they ruling the world using these powers of prediction? Now, that would be a story I'd like to see...

Poetry; or, Please Take The Rhyming Couplets Away!
Most prophecy is written in poetry. Most fantasy authors are not poets. Combine these facts? Most mystical predictions sound twee at best - and if I hear another written in rhyming couplets, I will weep for humanity. I won't name any names here (I'm not that cruel), but I will point out that if you really need a prophecy, consider whether it actually requires a dedicated poem - or whether you're just sticking to tradition for the sake of it.

Cliche; or, No More 'Dark Lords'
I've already ranted about accurate prophecies - but there are problems with the vague and ambiguous predictions, too. For one, in attempting mysticism, they often stop at 'cliche' instead: wanderers, dark lords, and insane numbers of Arbitrarily Capitalised Nouns (the Sword of Power, the Teacosy of Ultimate Knowledge, that sort of thing). To be fair, this is a common problem - but the obligatory prophecy is particularly noteworthy for symptoms.

...So those are my top four qualms when I spot a prophecy. (However ranty they might seem, I have liked series with prophecies - but generally, they fall under the exceptions I mentioned. A great example is Tom Lloyd's The Stormcaller, where there's a fantastic subversion which of course a can't tall you about... Spoilers!).

No more posts for the next few days - Christmas! So I wish all you readers a merry Christmas (and of course many, many books) and a happy New Year! Look forward to many apocalyptic predictions...

Interview | Adam Christopher

noreply@blogger.com (Jacob @ Drying Ink) — Thu, 22 Dec 2011 16:17:00 +0000

Back in November, I reviewed Adam's now newly-released novel, Empire State - an original and heady mix of superheroes, robots, noir, and not a few double crosses... (Hint: It's really very good). Adam kindly agreed to the following interview, so... Welcome to the blog, Adam!

Empire State mixes subverted superheroes, a detective straight out of noir, and... metaphysics. Was there anything in particular that inspired you to put these elements together?

Empire State was the result of several different ideas all coming together at once by accident. I think a lot of writers experience that - you're working on different projects and you've got a handful of neat ideas that are in need of a home. Suddenly, a couple can collide in your mind, and you've got something else entirely, something new and unexpected.

That's pretty much what happened with Empire State. I had this idea kicking around for ages about a Prohibition-era city caught in a never-ending Cold War with a nameless enemy, but apart from being a cool setting, it didn't have a story to go with it. Sometime later, a challenge from some friends to write a pulp SF pastiche came up with a story called "Captain Carson and the Case of the Robot Zombie", which was really just a title and a vague idea about a moustachioed polar explorer playing detective in New York, on the hunt for a robot serial killer. The final element came to me on a long-haul flight from Manchester, England, to San Francisco a few years ago. I had with me a copy of The Big Sleep by Raymond Chandler - it was actually the first time I'd read one of his books, and I wasn't sure what to expect. As it happens, I was completely hooked and fell in love with this hardboiled, noir style. And sometimes on very long flights things go a little loopy - lack of sleep and dehydration probably - and I remember going off to sleep thinking how great it would have been if The Big Sleep was science fiction, but played exactly the same. This idea of "Raymond Chandler with robots" stuck with me, and then I remembered those other ideas about the Prohibition and this character called Captain Carson.

Around the same time, more or less, I was looking for Ray Bradbury books on Amazon and mistyped his name as "Rad" Bradbury. I immediately thought it was a great name for a pulp detective, and suddenly - SHAZAM! - it all came together. Pulp detectives, robots, an endless war, Prohibition - Empire State was born.

The superheroes were introduced later, but again it was a case of the right idea locking into place. I love the idea of period superheroes and I still think Batman Begins would have been amazing if it had been set in the 1930s, when Detective Comics #27 had come out. All of the elements I wanted had a common root in this time period - pulp fiction and hardboiled detectives, the Golden Age of comic books and the emergence of superheroes, Prohibition and the Great Depression. On the face of it, it sounds like a lot of disparate elements, but really they all have a commonality.

Just out of interest here, did you ever write 'Captain Carson and the Case of the Robot Zombie'? :P I mean, not in Empire State form.

No, but I must admit I've been tempted. One of the things about Empire State is that the book is really only about one event - a pivotal event, of course - and there is huge scope for more stories set in the same universe. Before the events of the book, Rad ran his detective agency, and Kane - thanks to his newspaper contacts - helped out. Carson himself is perhaps the most mysterious - he was involved somehow with the Empire State and the Chairman of the City Commissioners at some point. So, Captain Carson investigating the case of the robot zombie? Well, why not. Maybe I will write that. Or maybe someone else will write it, as part of the Worldbuilder!

You've opened Empire State up to the new Worldbuilder project - but stated you'd prefer stories to avoid the novel's future: does this mean firm plans for a sequel, or just the possibility?

The rule there is that while you can use the characters of the book if you want to - and you don't have to, of course - if you do, don't create anything set concurrently with the novel, or set afterwards. The first restriction is because there are no real pauses in the book, so, for example, writing a short story with Rad set during the events of Empire State would be illogical and would confuse the central narrative.

The second restriction is to keep the possibility of a sequel open - I don't want to be influenced in any way by what someone else writes about Rad or Kane or Carson or anyone. I do have some notes on a possible sequel, but it'll only be written if and when it feels right to do so!

Of course, none of this prevents people from creating their own characters and sending them off on adventures before, during, and after the events of the novel. I've divided the world up into a number of "realms", the details of which readers can find at the back of the book and on empirestate.cc - there is enough scope to create almost anything, and to set things almost anywhere. If someone wanted to write a story with someone's successor set in 2011, for example, that would be cool! I also hope people create new characters and have them interact with the ones I've created. The Worldbuilder is going to be a lot of fun!

I'll be looking out for them! (Ah, Captain Carson was definitely a favourite)

Time for the interrogation: given the choice, ebook or hard copy?

Given the choice? Hard copy, every time. But that's not to say I necessarily prefer hard copies to ebooks - I used to live in a small house which quickly ran out of room, so ebooks were my number one choice. Since moving to a larger house - one that actually has a library! - I've moved back to hard copies. In particular I love hardbacks, and will also try and seek those out over the paperback edition. Someone once said that books are a souvenier of a journey taken - in the same way as you might put a postcard on a noticeboard or a fridge magnet of a holiday destination up to remind you, so you put the book on the shelf once you've read it.

Ebooks, however, are immensely practical - I do a lot of travelling, and nothing beats taking an ereader with you. For me the days of taking giant books (usually paperback for flights!) around while travelling are gone.

The problem though is that this often means buying two copies of everything - it would be great for say hardback editions to come with a code for a download of the ebook, like the codes you get for a digital copy of a film when you buy the Blu-ray, or downloadable content for games consoles - but I think there are a lot of logistical problems to overcome before that becomes commonplace. For a start, Blu-rays and console games are in sealed packaging with the unique download code safe inside, while books (at least the ones on the shelves I browse!) are free to open.

Were there any characters in Empire State you found particularly enjoyable to write?

There were two that were a real pleasure - Rad himself, and Captain Carson.

Rad is a pulp detective in pulp detective tradition, deliberately so. But while this might sound restrictive, it actually gave me a surprising amount of freedom. Sure, he's going to react in certain ways and have certain behaviours, but the great thing about hardboiled characters is that they can approach situations in quite surprising ways. Rad spends the book searching for a truth which is, really, mostly beyond his understanding. He's the reader's anchor, and as he fights his way through the story, I felt a real connection.

Captain Carson was more fun in the traditional sense - here's this old guy whose connections to the city and events are mysterious and also a little bizarre, and he was frequently hilarious to write.

In any good writing, the characters should come to life and start acting on their own - this is something that non-writers sometimes think is a little weird, because a writer is supposed to be in charge of everything, right? But that's not the case, and once things get going, characters will start to shape the story themselves and take matters into their own hands.

This happened a lot with Captain Carson - I won't spoil anything, but at several points in the book he'd do something that was completely surprising to me and contrary to what he was supposed to be doing, at least as far as I knew. That's the best part of writing, when a character comes to life and you're left trying to keep up with them as they plough onwards, disregarding your outline and synopsis and throwing up hidden plot points and new directions.

I like Captain Carson. I suspect he'll appear again.

Empire State definitely has one of the most original combinations I've seen this year: was this kind of genre blending what you first set out to do as a writer, or did you have a preferred 'subgenre'?

The genre-blending of Empire State was incidental to the story - I had the characters, the setting, the central idea, and I started writing. Of course, as I wrote, I was wondering to myself how the book might be classified. It's science fiction, for sure... but with hardboiled pulp, noir, superheroes, the slightest touch of steampunk, and even a few fantasy elements. Eventually I realised that it was the kind of thing that Angry Robot might be interested in, as they were known for not being worried too much about cross-genre stories. As it happens, they were!

But essentially I had the idea and I wrote it - this is the same for everything I write: I don't worry about genre or classification, if I have a story to tell and the characters to tell it, then that's what I write. Of course everything I write is "genre" of some description, because that's the kind of story I love, but the definitions are pretty loose and it's not something I consciously think about, it just comes naturally from the situation.

Who are your favourite authors? Have any influenced you particularly?

My favourite authors are really split between novelists and comic writers, as my reading tends to be split between these forms. So I'd count Stephen King, Lauren Beukes and HP Lovecraft in the same breath as Kurt Buseik, Grant Morrison, Greg Rucka and Ed Brubaker - and, of course, some authors/writers have overlap in both forms.

I've also got favourite books, which are a slightly different thing - from recent books like Ready Player One by Ernie Cline, The Night Circus by Erin Morgenstern and The Five by Robert McCammon, to classics like Earth Abides by George R. Stewart and The Stars My Destination by Alfred Bester.

Whether an author or a book influences me as a writer is an interesting question and difficult to answer. The answer is absolutely yes, but I suspect it's mostly subconscious. I've noticed that if I'm reading a book and really enjoying it, writing comes very easily and I'm happy with the result. If I'm stuck reading a book that isn't so great, then my writing suffers. Unfortunately, although I know this now, it sometimes takes a while to figure out that the reason why I'm a little stuck on a project is because I'm reading a book that isn't quite doing it for me!

Empire State definitely plays around with a few archetypes - so which is your favourite fantasy archetype, and why?

That's a difficult question! Empire State required a set of archetypes for the story to be structured how it was - the hardboiled detective, the dame, the Prohibition setting - but most came from classic detective fiction than SF. I think Empire State is more a meld of that and comic archetypes rather than fantasy.

Apart from Empire State on the 27th, are there any releases you're particularly looking forward to right now?

There are a couple of books out next year that I'm really looking forward to.

One of my favourites from 2011 was My Life as a White Trash Zombie by Diana Rowland. It's a genius piece of urban fantasy that really revitalises the zombie genre in a unique way, and despite the title it's not a comedy or spoof. The next in the series, Even White Trash Zombies Get the Blues, is out in July.

Scott Sigler's Nocturnal is due in April. I'm a fan of Scott's from his podcasting, and Nocturnal was the first of his novels I listened to. I still think it's his best too - it's a huge epic that plays out across (and underneath) San Francisco - when I went there in 2009, I had a fun day scouting locations from the book. Crown are doing a brilliant job with Scott's work, so I expect the hardcover release of Nocturnal to be even better.

Plus there's another book called Seven Wonders coming out in August... something about superheroes by that guy who wrote Empire State...

Funny, that one's on my wishlist too. Is there anything you feel you've done better, or differently, in your second novel?

I'm going to have to think about how I answer that - you're right in that Seven Wonders is my second novel. But as it happens, Empire State was actually the third, and they're being released in reverse order! The first one I wrote was an occult steampunk thing called Dark Heart, which is pretty cool but which needs a lot of work before it'll be ready for publication.

Seven Wonders and Empire State are completely different, so a comparison is hard. Seven Wonders is perhaps a little more "widescreen" as there are more characters, and being an all-out superhero novel, with plenty of spandex and laser beams, it's a little more action-oriented. It's also set in the present day, so the whole tone and style is different.

But I like the idea that the two books might be connected - perhaps the world of present-day San Ventura, California, is the same world in which the Science Pirate and the Skyguard protected New York in the 1930s, until they vanished after their famous final battle. And then in the period from 1930 to the early 21st century, the world gradually filled with hundreds of superheroes and supervillains, who waged war against each other until there was just one superteam left, The Seven Wonders, and their arch-nemesis, The Cowl.

Wow - I didn't anticipate Seven Wonders wouldn't be your latest work! Occult steampunk sounds interesting - was it alternate history-ish steampunk or secondary world steampunk?

Alternate history, but set in the present. In 1861, Queen Victoria dies from typhoid fever, and a distraught Prince Albert instigates a coup and takes direct control of the British Empire. His scientists - and magicians - steer the path of progress into a dark place in his quest to bring Victoria back from the dead, and 150 years later he's still in charge, his lifespan extended by steam power and black arts. That's the world, anyway. Dark Heart follows the adventures of an occult detective and his team as they try to prevent the awakening of a voodoo god of death in the jungles of West Africa, while a steam-powered serial killer stalks London.

But... it needs some work. Maybe it'll see the light of day sometime!

Thank you for the interview, Adam - and good luck with the Empire State release!

Adam Christopher's debut novel, Empire State, is now out from Angry Robot in the UK (and naturally, it's really very good - try it). His second novel, Seven Wonders, is due out next summer.

Review | Two Reviews in One! Scar Night and Iron Angel

noreply@blogger.com (Jacob @ Drying Ink) — Tue, 20 Dec 2011 16:52:00 +0000

Deepgate: a city suspended by chains over an abyss - at the bottom of which waits its god, Ulcis. Well, that's the scene for Scar Night: a darker breed of fantasy. I'm going to be reviewing its sequel, Iron Angel, with it. The two work better together, for reasons I'll explain...

So, we've got our unusual setting. Where are the matching characters? The first of these is an angel - and an unusually flawed one. Dill is the descendent of Calcis, Ulcis' famous herald. The last Temple archon, he's not been allowed out of the Temple itself for his life's duration, and can't even lift his ancestral sword. But now he's got a new mentor - Rachel. A Temple assassin who the temple refuses to trust, Rachel hasn't been tempered, made into one of the emotionless Spine Adepts. But someone is stealing souls in the city, there's secrets at the very heart of Ulcis' faith, and a vengeful father has set out to kill an angel...

Unfortunately, passivity became a bit of a promblem for me: Dill was likeable, but he was a passive protagonist - the events around happened to him, not because of his actions. Yes, there are justifications, but he's just not as interesting as his fellow cast members. Rachel, on the other hand, was much more active. Sometimes wrong - well, often wrong. But a lot more fun to read. It's in the sequel, however, that things really improved. The amiable demigod John Anchor, the sea god Cospinol in his rotting sky-ship... Well, they enlivened the story. A lot.

Scar Night also escalated fast, possibly too fast. You know what I'm referring to: if one minute your struggle's a personal conflict, and the next it's about the fate of the world... In Iron Angel, howver, everything is on such a scale that you just enjoy the ride. Gigantic automatons, gods, portals to hell and flying fortresses - well, just say it's a lot more interesting than Deepgate. Scar Night also had a problem with the awe factor. In other words? It wasn't there. Regardless of how dark the fantasy is, gods and entities merely rumours throughout the book should impress, and the climax came off a little lacklustre becuase they didn't. Iron Angel remedied this completely, with the introduction of the soul-based, shapeshifting Maze, shiftblades, and Arconites.

This is probably the key reason for reviewing both together - because while Scar Night is decent enough, Iron Angel really makes up for its deficiencies. One thing you'll want to bear in mind, however, is that it's dark. Characters will die - or be maimed. Including your favourites. There are some fairly disturbing creations. But if you're able to enjoy that for what it is, an unusual epic on the larger scale, you'll love Iron Angel - and Scar Night is a decent read as background.

All in all? Iron Angel: very good. Scar Night: worth it as background to its sequel, but only decent in its own right. If you love the non-traditional, the dark, and huge clockwork monstrosities (cool factor up to 110%), then this is probably your kind of thing. If you prefer the character focus? Probably not.

Why You Should Read | George R. R. Martin

noreply@blogger.com (Jacob @ Drying Ink) — Mon, 19 Dec 2011 13:37:00 +0000

Thanks to the Little Red Reviewer's horrific theft of The Fuller Memorandum review of the day (there can only be one :P ) - that was, I insist, a joke - I've been forced to extreme measures. In other words? An article. On? This. Well, here goes:

If you're a fan of SFF, I'd be astounded if you could honestly tell me you've never heard of Martin. Whether for his short stories (including the memorable 'Tuf' shorts), or - more likely - for his bestselling A Song of Ice and Fire series, it's likely that every fan has heard his name somewhere. Not everyone, however, has read him - so I make plenty of recommendations of his novels. Well, here's the summary version: why should you read George R. R. Martin?

- Consequences. Readers tend to bandy the term 'author's darlings' about - and not as a compliment. Martin is likely the one author who'll never have characters like this - because in ASOIAF, protagonists drop like flies. Maybe you don't like that, but since all bets are off, it makes everything matter a whole lot more. Not to mention racheting up the tension...

Characters suffer the consequences of their actions readily in Martin's novels - however tragic. So if you want your art to imitate life, if you never, ever want to think 'oh, the author will never kill him' - read Martin.

- Intricacy. If the plots you enjoy involve intrigue, Martin is likely for you. Large parts of A Song of Ice and Fire essentially are just piecing together the various gambits. Subtle clues? You bet - and some of said plots go on for entire novels. Fans of Erikson's convoluted clue-collecting apply here.

- Low Magic. Normally we don't go into fantasy for mundanity. But the world of A Song of Ice and Fire is minimally magical - and done really, really well. Firstly, what does appear is mysterious and genuinely atmospheric: the kind of Tolkienesque magic. Secondly - and a big benefit - you don't have to worry about a protagonist winning his or her conflict with a magical firestorm instead of an actual, you know, conclusion.

- Flaws. Not in the writing, but in the characters themselves. I've always been a fan of profoundly flawed characters, and Martin manages this. We might not love our heroes here - or even like them - but they are real people. And they won't become perfect: no author's darlings, remember?

- Scale. Like Erikson's, A Song of Ice and Fire is an epic written on a scope unlike almost anything else. Not about the fate of the world, but definitely about the fate of dynasties, ASOIAF spans more than a continent - with a huge cast of viewpoint characters. The benefit of that cast is that there's sure to be some protagonists you're rooting for. Or maybe just like to hear from. Or hear scream. At any rate, on such a huge scale, you will find plotlines you love. Why? Because there's a lot of them.

So here are my top 5 reasons to read Martin - though of course many more exist (not least because of Petyr Baelish, who is a walking moment of awesome).

Giveaway | Low Town: The Straight Razor Cure

noreply@blogger.com (Jacob @ Drying Ink) — Sun, 18 Dec 2011 14:14:00 +0000

Earlier this week, I reviewed Low Town - and in case you need a recap, it's brilliant. Well, if you live in the UK (sorry, US readers!) and haven't already grabbed your copy, here's my giveaway of Straight Razor Cure - which I'm sure you'll enjoy just as much as I did! Many thanks go, of course, to Hodder and Stoughton for providing the giveaway copy.

So, what do you have to do to win? Since Warden is one of the darker and more unusual fantasy protagonists I've known, to enter, simply comment below with your favourite non-traditional protagonist. Make sure to leave some way I can contact you when you win - the internet's a big place. You don't have to follow me (though if you like what you see, why not? I'm egocentric.).

Finally, any help spreading the word is appreciated. ...In an entirely non-cultish way, of course. That said, comment below to enter!