First Light: (The Red#1) Review

First Light The Red #1

Linda Nagata

Saga Press

June 30, 2015

4/5 Stars

  In her gripping military science fiction novel “The Red: First Light,” Linda Nagata crafts a compelling narrative that seamlessly blends cutting-edge technology with the gritty realism of modern warfare. Set in a near-future world, the story follows Lieutenant James Shelley, an unwitting soldier thrust into the heart of a conflict that blurs the lines between human autonomy and artificial intelligence. Nagata’s masterful storytelling and attention to detail create a vivid, immersive experience that will captivate readers from start to finish.

At the center of this thrilling tale is Lt. James Shelley, a character whose journey into the US Army begins not with patriotic fervor, but as a consequence of his participation in a protest march. This unconventional entry point immediately sets Shelley apart from the typical military protagonist, adding layers of complexity to his character and motivations. Nagata skillfully develops Shelley’s character throughout the novel, allowing readers to witness his growth and internal struggles as he navigates the challenges of military life and the ethical dilemmas posed by advanced technology.

The world Nagata constructs is a fascinating extrapolation of our current technological trajectory. The narrative is set in a future where Defense and Corporate Services (DCS) corporations wield significant power, blurring the lines between governmental and private sector control. This backdrop serves as a chilling reflection of contemporary concerns about corporate influence and the privatization of military operations.

One of the most captivating aspects of “The Red: First Light” is Nagata’s exploration of near-future technologies. The author demonstrates a remarkable ability to envision and describe advanced systems that feel both fantastical and eerily plausible. From enhanced combat suits to neural implants that allow for instantaneous communication and data processing, the technological elements are seamlessly integrated into the narrative, enhancing the story without overshadowing it.

Particularly noteworthy is Nagata’s treatment of artificial intelligence and its role in military operations. The concept of a mysterious, omniscient AI known as “the Red” adds an element of intrigue and raises thought-provoking questions about the nature of consciousness and the potential consequences of relying on machine intelligence in matters of life and death.

Nagata’s commitment to realism is evident in her portrayal of military life and combat scenarios. The author’s research and attention to detail shine through in the authentic depiction of military protocols, tactics, and the psychological toll of warfare. This level of authenticity grounds the more speculative elements of the story, creating a believable and immersive world.

However, the novel is not without its flaws. While Shelley is generally portrayed as a realistic army officer, there are instances where his reactions to certain events seem incongruous or difficult to relate to. This occasional disconnect can momentarily pull the reader out of the otherwise engrossing narrative.

Additionally, the characterization of some of Shelley’s squad members falls short of the depth and nuance exhibited in the protagonist’s development. Given the extended period the squad has presumably spent together, one might expect a richer portrayal of these supporting characters. Instead, some squad members are reduced to little more than names and brief descriptors, verging on stereotypes rather than fully realized individuals.

It’s worth noting that the story is told exclusively from Shelley’s perspective, which may account for some of these limitations in character development. However, this narrative choice doesn’t fully justify the lack of depth in portraying characters who should be integral to Shelley’s daily life and experiences.

One of the most commendable aspects of “The Red: First Light” is Nagata’s ability to craft a complete, self-contained story within the framework of a series. This is a rare and impressive feat in the realm of science fiction and fantasy literature, where multi-volume epics often leave readers hanging with unresolved plotlines and cliffhanger endings.

Nagata deserves significant praise for her storytelling prowess in this regard. By providing a satisfying conclusion to the main narrative arc while still leaving room for future exploration of the world and characters, she strikes a delicate balance that respects the reader’s investment in the story while generating interest in potential sequels.

Beyond its thrilling plot and technological speculations, “The Red: First Light” offers a nuanced exploration of several pertinent themes. The novel delves into questions of free will and determinism, particularly in the context of advanced AI and neural implants. Shelley’s struggles with the influence of “the Red” and his own augmented capabilities raise intriguing philosophical questions about the nature of choice and the boundaries of human consciousness.

The book also provides a sharp critique of corporate power and its intersection with military operations. Through the portrayal of DCS corporations and their influence over global conflicts, Nagata offers a cautionary tale about the potential consequences of unchecked corporate growth and the privatization of traditionally governmental functions.

Furthermore, the novel touches on themes of media manipulation, public perception of war, and the ethical implications of advanced surveillance technologies. These elements add depth to the narrative and encourage readers to reflect on the trajectory of our own society and the potential consequences of our technological advancements.

Nagata’s prose is crisp, efficient, and highly effective in conveying both action sequences and more introspective moments. Her writing style perfectly complements the military setting, providing clear and precise descriptions of combat scenarios while also capturing the emotional and psychological states of the characters.

The pacing of the novel is well-executed, with a good balance between intense action sequences and quieter moments of character development and world-building. Nagata keeps the reader engaged throughout, skillfully building tension and releasing it at key moments.

“The Red: First Light” is a standout entry in the military science fiction genre, offering a compelling blend of near-future speculation, military action, and thought-provoking themes. Linda Nagata’s skillful storytelling and attention to detail create a vivid, immersive world that feels both fantastical and eerily plausible.

While the novel has some minor shortcomings in terms of character development for supporting cast members, these are overshadowed by the strength of the overall narrative, the depth of the world-building, and the nuanced exploration of complex themes. Nagata’s ability to craft a complete, self-contained story within the first book of a series is particularly praiseworthy, demonstrating her respect for the reader and her mastery of narrative structure. This approach sets “The Red: First Light” apart from many other series openers and leaves the reader satisfied yet intrigued about the potential for future installments. For fans of military science fiction, near-future speculation, or simply well-crafted storytelling, “The Red: First Light” is a must-read. It offers a thrilling adventure grounded in realistic technology and military protocols, while also prompting reflection on the ethical and societal implications of our rapidly advancing technological landscape. Linda Nagata has created a work that not only entertains but also challenges readers to consider the potential trajectories of our own world, making “The Red: First Light” a standout contribution to contemporary science fiction literature. — -4/5

Court of Roses and Thorns Review

Court of Roses and Thorns

Sarah J. Maas

Bloomsbury USA Childrens

May 5, 2015

3/5 Stars

    Sarah J. Maas, known for her bestselling “Throne of Glass” series, ventures into new territory with “A Court of Thorns and Roses,” the first installment in her fantasy saga. As a reader familiar with Maas’s previous work, I approached this novel with a mix of anticipation and caution. While it shares some similarities with her earlier series, “A Court of Thorns and Roses” presents a refreshing departure from Maas’s established formula, offering a more mature and nuanced narrative that shows promise for the series ahead.

The story unfolds in a world where the realms of mortals and Fae coexist, separated by an ancient treaty and a magical wall. This well-worn theme in fantasy literature is given new life through Maas’s vivid descriptions and intricate world-building. The author paints a rich tapestry of the Fae realm, known as Prythian, with its various courts and complex political dynamics.

Our protagonist, Feyre, is a young human woman struggling to support her impoverished family through hunting. Her life takes a dramatic turn when she kills a wolf in the woods, unwittingly setting off a chain of events that thrusts her into the dangerous and alluring world of the Fae.

Feyre stands out as a more relatable and multifaceted protagonist compared to Celaena from the “Throne of Glass” series. Her struggles with poverty, her fierce devotion to her family, and her artistic inclinations make her a compelling character from the outset. As the story progresses, we witness Feyre’s growth from a wary, survival-focused mortal to a woman who begins to understand and navigate the complexities of the Fae world. Tamlin, the High Lord of the Spring Court and Feyre’s love interest, initially appears as the typical brooding Fae male often found in this genre. However, Maas gradually peels back layers of his character, revealing vulnerabilities and complexities that make him more than just a romantic foil. The supporting cast, including the enigmatic Lucien and the menacing Amarantha, adds depth to the narrative. Each character feels distinct and serves a purpose beyond merely advancing the plot.

The story’s pacing is one of its strengths. Maas skillfully balances world-building, character development, and plot progression, keeping the reader engaged throughout. The first half of the book focuses on Feyre’s adjustment to life in the Spring Court and the slow-burn romance between her and Tamlin. This section, while somewhat predictable, is enjoyable due to the lush descriptions and the gradual unveiling of the Fae world’s mysteries. The second half of the book takes a darker turn, introducing higher stakes and more complex conflicts. This is where Maas’s storytelling truly shines, as she subverts expectations and pushes her characters to their limits. The trials Feyre faces Under the Mountain are harrowing and compelling, forcing her to confront not only external threats but also her own limitations and prejudices.

As with many young adult and new adult fantasy novels, romance plays a significant role in “A Court of Thorns and Roses.” The relationship between Feyre and Tamlin develops organically, with moments of tension, tenderness, and passion. Maas handles the romantic elements with more maturity than in her previous series, exploring themes of consent, sacrifice, and the complexities of love across cultural divides.

However, the romance doesn’t overshadow the broader narrative. Feyre’s relationships with other characters, particularly Lucien and Rhysand, add layers of intrigue and complexity to the story. These interactions hint at deeper conflicts and alliances that are likely to be explored in future installments of the series.

Maas weaves several themes throughout the novel, including the nature of love and sacrifice, the consequences of prejudice, and the power of art and creativity. The author draws inspiration from various fairy tales, most notably “Beauty and the Beast,” but reimagines these familiar elements in fresh and sometimes subversive ways.

The symbolism of the different Fae courts, each associated with a season or time of day, adds depth to the world-building and provides a rich backdrop for exploring themes of change, rebirth, and the cyclical nature of power.

Maas’s writing has noticeably improved since her earlier works. Her prose in “A Court of Thorns and Roses” is more polished and evocative, particularly in her descriptions of the Fae realm and its inhabitants. She strikes a balance between lyrical passages and straightforward narration, creating a reading experience that is both immersive and accessible.

However, there are moments where the dialogue feels stilted or overly dramatic, particularly in some of the romantic exchanges. These instances, while not frequent, can momentarily pull the reader out of the story.

One of the main criticisms that can be leveled at “A Court of Thorns and Roses” is its predictability, especially in the first half of the book. Many of the plot points and character dynamics will feel familiar to readers well-versed in the fantasy romance genre. However, Maas manages to inject enough originality and charm into these familiar tropes to keep them engaging.

The latter part of the book, particularly the finale, is where Maas truly subverts expectations. The resolution of the conflict Under the Mountain takes unexpected turns, challenging both the characters and the readers’ assumptions. This section elevates the book above many of its peers in the genre and sets up intriguing possibilities for the rest of the series.

A point of contention in the novel is the use of an old and well-known riddle as a pivotal plot device. While the inclusion of riddles and trials is a common trope in fantasy literature, the choice of such a familiar puzzle may disappoint readers looking for more originality. It’s possible that Maas intended this as a nod to classic fairy tale elements, but it comes across as a missed opportunity for a more creative challenge.

For readers familiar with Maas’s previous work, “A Court of Thorns and Roses” represents a significant step forward in terms of storytelling and character development. While it shares some similarities with “Throne of Glass,” such as a strong female protagonist and a fantasy setting, the overall narrative feels more cohesive and mature.

The romance in this series is better integrated into the plot, avoiding the sometimes-convoluted love triangles that characterized “Throne of Glass.” Additionally, the world-building in “A Court of Thorns and Roses” feels more fully realized from the outset, providing a solid foundation for the series to build upon.

“A Court of Thorns and Roses” is a promising start to Sarah J. Maas’s new series. While it doesn’t completely break free from the conventions of the fantasy romance genre, it offers enough fresh elements and compelling storytelling to stand out. The book’s strengths lie in its vivid world-building, complex characters, and the unexpected twists in its latter half.

For fans of fantasy romance, this novel offers a satisfying blend of magic, political intrigue, and passionate relationships. For those new to Maas’s work or those who found “Throne of Glass” lacking, “A Court of Thorns and Roses” presents an excellent entry point into her storytelling. While it may not revolutionize the genre, it certainly demonstrates Maas’s evolving skills as a writer and her ability to craft a captivating tale that leaves readers anticipating the next installment.

Throne of Glass

Sarah J. Maas

Bloomsbury USA Childrens

 (August 7, 2012)

2/5 Stars

    Sarah J. Maas's "Throne of Glass" is the first installment in her bestselling young adult fantasy series of the same name. While not quite reaching the stratospheric popularity of authors like Suzanne Collins or Cassandra Clare, Maas has carved out a significant following in the YA fantasy genre. The series gained particular attention when its third book won the Goodreads Choice Award for Best Young Adult Fantasy, beating out acclaimed works like Naomi Novik's "Uprooted" - a decision that raised some eyebrows given "Uprooted's" more mature themes and writing style. At its core, "Throne of Glass" follows Celaena Sardothien, an 18-year-old assassin who is offered a chance at freedom from imprisonment if she agrees to compete in a deadly contest to become the King's Champion. This premise sets up what should be a thrilling tale of intrigue, action, and high-stakes competition. However, the execution of this promising concept falls short in several key areas, creating a disconnect between the story's potential and its actual delivery. 

  The most glaring issue lies in the characterization of Celaena herself. Billed as a renowned and ruthless assassin, Celaena's actions and demeanor throughout the novel fail to convincingly portray this backstory. Instead of a hardened killer shaped by a life of violence and survival, readers are presented with a character who often comes across as naive, inexperienced, and more concerned with romantic entanglements than the life-or-death situation she finds herself in. This dissonance between Celaena's supposed background and her actual behavior is jarring and undermines the credibility of the narrative. 

  Maas's decision to make her protagonist an assassin is an intriguing one, but it's a choice that demands careful handling to maintain believability. The disconnect between Celaena's backstory and her actions suggests that perhaps a different character concept - such as a young woman with some combat training but less extreme life experiences - might have been more fitting for the story Maas ultimately tells. The assassin angle feels more like an attempt to add edginess to the character rather than an integral part of who Celaena is. 

  The love triangle that develops between Celaena, Crown Prince Dorian, and Captain of the Guard Chaol Westfall further detracts from the potential of the premise. While romantic subplots are common in YA literature, the emphasis placed on this aspect of the story overshadows the more compelling elements of political intrigue and personal growth that could have been explored. The romance often feels forced and distracts from the high-stakes competition and darker themes the novel attempts to address. 

  Prince Dorian's characterization is particularly problematic. Described as weak and ineffectual, he fails to come across as a compelling love interest or a believable heir to a powerful kingdom. This weakness in character development extends beyond Dorian, with many of the supporting cast feeling more like caricatures than fully realized individuals. 

  The novel's world-building and plot consistency also suffer from a lack of attention to detail. Inconsistencies in character behavior and motivations, along with convenient plot developments, give the impression of a hastily constructed narrative rather than a carefully crafted fantasy world. This "laziness" in storytelling, as some critics have noted, undermines the reader's ability to fully immerse themselves in the world Maas has created. 

  Despite these flaws, "Throne of Glass" does have redeeming qualities that have contributed to its popularity. Maas's writing style is engaging and accessible, making the book a quick and entertaining read for many. The basic premise of the competition is inherently exciting, and there are moments of genuine tension and intrigue scattered throughout the novel. Additionally, while Celaena's characterization may be inconsistent, her confident and sometimes brash attitude resonates with many readers who appreciate a female protagonist who isn't afraid to speak her mind. 

  The book's marketing and cover art present an interesting dichotomy. While the original cover accurately depicts the more romanticized aspects of the story, later editions feature sleeker, action-oriented designs that may attract a broader audience but also set up expectations the book doesn't fully meet. This disconnect between marketing and content speaks to a larger issue within the YA fantasy genre, where books are often packaged to appeal to both action-oriented and romance-focused readers, sometimes at the expense of narrative cohesion. 

  "Throne of Glass" seems to struggle with its identity, torn between being an action-packed fantasy and a romantic drama. This identity crisis results in a book that may disappoint readers expecting a hardcore assassin story while also potentially alienating those looking for a more traditional YA romance. The inclusion of elements like Celaena receiving a puppy mid-competition further blurs the line between the gritty world of assassins and a more lighthearted coming-of-age tale. 

 It's worth noting that many fans of the series argue that the second book, "Crown of Midnight," represents a significant improvement over its predecessor. However, for readers left unsatisfied by the first installment, the prospect of continuing the series may not be enticing enough to overcome their initial disappointment. 

 In conclusion, "Throne of Glass" is a novel with immense potential that ultimately falls short due to inconsistent characterization, an overemphasis on romance at the expense of other plot elements, and a lack of attention to world-building details. While it has found a dedicated fanbase and launched a successful series, it struggles to fully deliver on its promising premise. For readers considering diving into the world of "Throne of Glass," it's important to approach the book with measured expectations and an understanding that its strengths lie more in its entertainment value than in its depth or consistency as a fantasy narrative. Those looking for more cohesive and well-developed YA fantasy might be better served exploring other options in the genre. However, for readers who enjoy romantic elements mixed with their fantasy and are willing to overlook some inconsistencies, "Throne of Glass" may still offer an enjoyable reading experience. As with any book, individual tastes vary, and what doesn't work for some readers may resonate strongly with others. 

Pathfinder Tales: Lord of Runes

Pathfinder Tales: Lord of Runes

By Dave Gross

Macmillan-Tor/Forge

Tor Books

Pub Date   Jun 16 2015

3/5 Stars

 

         This is the first of the Pathfinder Tales books that I’ve been able to get my hands on.  The book starts rather slowly but as it moves forward it gets very interesting and considering there is a cliffhanger ending it only makes that ending even more maddening.  I’m not sure if this was the author’s intent; but it was certainly a little annoying.  The main characters are well written, but for the most part this book seems like a 1990s Dungeons and Dragons novel and not a particularly good one.  The best thing about series like Forgotten Realms or Dragonlance is that for the most part they can be appreciated without knowing a lot about what is going on in the book’s greater series.  In this case however, not so much.  I haven’t read any of the other Pathfinder books but I’m guessing they are similarly weaved together with demons and dragons.  They, I suppose are also tenuously tied together by what they call in the book; Pathfinder Chronicles. Which is interesting, but ultimately not enough to get me THAT interested in the book’s greater series.  However, I would like to know what happens…  Hopefully, these novels are not spaced very far apart.

 

 

The Darkest Part of the Forest Book Review

The Darkest Part of the Forest

Holly Black

Little, Brown Books for Young Readers

January 13 2015

4/5 Stars

 

       While I usually really like Holly Black books in general.  I found this book to be a bit wanting in a few cases.  Firstly, the dissonance between the real world and the pseudo-real world she created is jarring in a number of places.  Such as, when she is talking about the Folk killing "Tourists," and that it was OK as long as they didn't mess with any of the townsfolk.  Really?  So some 16 year old girl is going to think it's alright for the Folk to murder people as long as it isn't anyone she knows?  Really?  I could have probably swallowed this from an adult's perspective but not a teenager.
     On this note as well, it was hard to judge what time frame this takes place in and therefore made it even more puzzling when it came to things like grammar or slang.  I guess it probably took place in the 90s but its still impossible for me to be sure.
     The other thing I didn't like was a long scene about three quarters of the way through the book  that is nothing less than a blatant;"parents just don't understand" scene.  Which considering these people have all been living in this magical town for years makes so little sense; I had a hard time getting through it.  That was one YA trope that we could have done without in this case.
     Everything with the Folk and the main characters was incredible.  I really loved the idea of Hazel and Ben being monster hunters.  This was the magical and cool part of the book that kept me reading.  All in one sitting, in fact.  So thank you Holly Black for that.

Authors Read 1 Star Reviews

Year’s Best Science Fiction and Fantasy 2014 Review

Year’s Best Science Fiction and Fantasy 2014

Rich Horton

Diamond Book Distributors

Pub Date: Jun 10 2014

4/5 Stars

 

         So I always have some trouble with anthologies; I should probably be used to reviewing them by now.  But I haven’t gotten there quite yet.  But here we go…

          There are plenty of cool stories in this collection but here are my favorites, in no particular order:

                  A Stranger from a Foreign Ship, Tom Purdom

                  Effigy Nights, Yoon Ha Lee

                  Rosary and Goldenstar, Geoff Ryman

                  The Bee Her Heart, The Hive Her Belly. Benjanun Sriduangkaew

                  Dragonslayer of Merebarton, K.J.Parker

                  Loss, with Chalk Diagrams. E.Lily Yu

                  They Shall Salt the Earth with Seeds of Glass, Alaya Dawn Johnson

                  A Window or a Small Box, Jedediah Berry

                  Live Arcade, Erik Amundsen

                  Found, Alex Dally MacFarlane

                  A Brief History of the Trans-Pacific Tunnel, Ken Liu

                  It’s the End of the World as We Know It, and We Feel Fine, Harry Turtledove

                  The Dead Sea-Bottom Scrolls, Howard Waldrop

                  Out in the Dark, Linda Nagata

                  On the Origin of Song, Naim Kabir

                  Town’s End, Yukimi Ogawa

                  The Discovered Country, Ian R. MacLeod

 

               What I found so exciting and interesting about most of these stories is that they are so original, different from most of what is out there right now.  I also found the fact that the best stories are written by authors who have only written short stories or at least are only famous for writing short stories.  Some of the stories are seeming, at least to me, a tipping off point for any number of novels.  I’m kind of amazed that NONE of the authors that had my most favorite stories had never written in the longer form.  But perhaps that’s why these stories were so well crafted and interesting.  I would certainly recommend that anyone with a descent amount time, picks up these short story collection.