So I won’t review it as I normally would. Instead, I’ll try some different approaches…
Review by an Academic Literary Critic
A Cozy Christmas Murder (Z. Shazter, 2021) satirizes 21st-century capitalism in its portrayal of the independent bookstore operator Roberta Smith and her cat, Mr. Bigfluff, who together represent Messianic figures who protect the town of Quaintville from the avaricious motivations of a criminal who symbolizes the profiteering of the wealthiest classes, while at the same time indulging in a pastiche of various pre-post-modernist textual norms. Smith’s friends, Jeannie and Sheriff James, symbolize conflicting modes of sexuality in a petit-bourgeois milieu…
Review by someone who has only read one very specific type of book
I couldn’t follow this story at all. The characters were not wizards, but seemed to all be non-magical people. I kept waiting for something about a prophecy to explain the plot, but there was nothing. Also, the family bloodlines and lineages were left unexplained, so I couldn’t easily categorize the characters.
Review by someone who is too easily offended
The protagonist of this book is a woman. Are they trying to say that men can’t solve mysteries? Do they want our young boys to grow up believing themselves to be incapable of logic and reasoning? Also, why do they only mention Christmas? Are they suggesting that all the other holidays should be illegal? If so, that is offensive and wrong.
Review by That Guy; you know the one…
To be clear, I love the book itself. The characters are funny and engaging, and the whole thing is a delightful send-up of cozy mysteries. However, I’m only giving it one star because Amazon delivered it three minutes late to my houseboat in the middle of a Category 5 hurricane.
Review by someone whose keyboard only has the letter “h”
They don’t write books like this anymore. I say that because this book was written in the past, which is not the present, and therefore by definition is not being written now. You couldn’t write a book like this today. People would say it had already been written, and in a way, they’d be correct. Because we can only move through Time in one direction. Still, if you want to pretend that it isn’t now but the past, then you should read this book in your near future!
Yuck, what was in that eggnog?
Anyway, I hope you enjoyed this silliness. Definitely give Shatzer’s books a try if you haven’t already. Merry Christmas, Happy Holidays, and to all a good night!
Just when I thought I couldn’t get any more dazzled by Zachary Shatzer powers of comedic storytelling, he goes and writes a cozy zombie apocalypse story.
Shatzer’s recent book The Beach Wizardcemented his place on my Mount Rushmore of comic novelists. It’s a fantastic mixture of absurd comedy and stoic philosophy. I’ve read it twice since it debuted in August. Everyone should read it.
But, anyway; about this book. It’s the third book in Shatzer’s series of cozy mystery parodies, starring amateur sleuth Roberta Smith, her cat Mr. Bigfluff, and their idyllic (aside from the surprisingly frequent murders) town of Quaintville.
You have to read the first two books in the series to get the most out of this one, but as they’re all extremely short, this shouldn’t be a problem. You can read the whole series in about an hour.
Now, I’ll admit to the possibility that this particular brand of parody might not be for everybody. You have to be familiar with the cozy mystery genre to get why it’s funny. I suppose if you’ve never heard of cozy mysteries before, you’ll find it a bit baffling. But then again, who hasn’t heard of cozy mysteries?
Additionally, an Indie-Skeptic may argue that the books are (a) very short or (b) contain typos. I have seen these arguments made many times by readers who hesitate or outright refuse to spend money on indie books. Sometimes at the same time, which doesn’t even make sense. It’s like the old joke about the restaurant where the food is terrible and the portions are too small.
The argument that a book is too short doesn’t hold up. You’re not paying for the words, you’re paying for the effect they produce.
As for the typos, I’ve pretty much reached a point as a reader where I hardly notice them, unless they actively impede my understanding. Yes, of course, in an ideal world, there would be no typos, and all spelling and grammar would be perfectly uniform. But we’re not in an ideal world, and this is far from the main reason why.
One of my hobbies is reading old books, especially those from my favorite historical period, the American Revolution. One thing I quickly noticed was that spelling was very much an inexact science in those days. George Washington himself struggled mightily with orthography.
The snobs of the world who sneer at typos in indie books would no doubt say, if transported back to Colonial America, “This man’s letters be full of errors most grievous against our Common Tongue. Hark ye, sirs and ladies, never could he lead a ∫ucce∫sful revolution against the Crown of England!”
Or words to that effect. But old George seemed to do all right for his country, and Zachary Shatzer has done all right for the art of writing comic fiction. Like I said at the outset, folks: Mount Rushmore.
Shatzer’s books never fail to make me laugh out loud, and this one is great for getting in the Halloween spirit. (Not that I need help with that, but…) I highly recommend it.
This is actually the 2nd book in Shatzer’s “Cozy Murders” series. The 1st book is the only one of his I haven’t reviewed yet, because it’s a Christmas-themed tale, and I’m saving it for December. But, you can read them out of order.
I like cozy stories. I even like Hallmark-esque Christmas-themed cozy stories. That said, there are certainly things about the genre that do invite parody. And that’s what Shatzer does here, using his comedic pen to lampoon the cloying earnestness sometimes found in such stories.
What do I mean by that? Well, here’s an example:
“Hi, Mrs. Smith,” he said. “I just wanted to thank you for giving me that anti-drug pamphlet. It really made me think. I had no idea drugs could be so dangerous. I’m never going to take them again.”
“I’m glad to hear that, Jimmy,” I said.
“I showed the pamphlet to my friend, Tyler,” he went on. “Tyler told me he was thinking about taking drugs, but then after I gave him the pamphlet and he learned about all the bad things that can happen when you take drugs, he decided not to.”
Shatzer is parodying the typically unsubtle and occasionally preachy style that sometimes accompanies coziness. The whole book (which is only about a ten minute read) is written in this silly, fairy-tale-for-grown-ups tone. Maybe not everyone will find it funny, but personally, I think it’s a hoot.
As the title suggests, the plot of this book centers around extraterrestrial visitors to the protagonist’s aggressively-charming town of Quaintville. With one exception, the aliens are just as friendly as the human residents of Quaintville. In fact, one of them is strikingly simpatico with our narrator.
Is it kind of a goofy concept? Yeah, it is. It probably wouldn’t work as a full length novel or even novella. But as a short story, it made me laugh. The best thing I can compare it to are MAD magazine spoofs of yore, that would take their inherent silliness and run with it. In fact, I can almost picture the story illustrated by Mort Drucker. It’s that kind of light-hearted fun.
“But Berthold, this is one of those made-for-TV Christmas movies!”
“I know, but what can I say? I enjoy them. Some are better than others, and this is one of the best.”
“But last year you said the same thing about Christmas Crush, and one of your friends saw it on your recommendation and thought it was terrible!”
“Well, Christmas Crush does have a very millennial sense of humor to it, which I think may not be for everyone. The jokes in it come from the awkward conversations and ironic coincidences. Not everyone’s cup of tea. I should have mentioned that.”
“Okay, fine. So, why do you think this movie is so good?”
“It really comes down to the relationship between the protagonists. Jessie Temple is a tough, no-nonsense cop assigned to protect witness Dean Cupo until he can testify. She’s not just waiting around for a prince to sweep her off her feet like many of the female characters in these kinds of movies. She and Dean do a lot of verbal sparring at first, which makes sense, but then gradually they bond over little things, like a shared love of old horror movies.”
“It’s still sounds cheesy to me.”
“Well, yeah; and I’d be lying if I said it’s not. But, it’s a holiday movie. You don’t go watching a Christmas movie in the hopes that you’ll discover some sort of edgy, avant-garde experimental film. You watch it because you want to see a cozily familiar drama performed by likable characters. See my comments about pantomime in the Christmas Crush review.”
“No, I don’t think I will. Can’t you stay on topic?”
“Sure. Most Christmas movies are just too saccharine for my taste. Nothing whatsoever happens. It’s like, ‘Oh, I fell in love with the Prince of Monte Carlo! Oh, but there was some trivial misunderstanding and now we broke up! Oh, but now it turns out we cleared it up and we’ll get married!’ It’s all so vapid.”
“Whereas a movie like A Christmas Witness has some real plot to it. How many Hallmark Christmas movies end with armed standoffs? I mean, yes, you know how the journey’s going to end, but at least you feel like you went somewhere.”
“I get that you’re skeptical, and I respect that. And I’m not saying, ‘Oh, man this movie is great! It should win all the Academy Awards! Go home, Lawrence of Arabia, we have a new cinematic classic!’ I’m not saying that.”
“It’s just that it’s pleasant holiday entertainment. When I sit down to watch a Christmas movie, I really don’t want my expectations subverted, or to get a dark, hardboiled mystery, full of mistrust and morally ambiguous characters. But nor do I want something so sugary-sweet that it makes my teeth hurt. This movie gets the balance just right for me.”
“I see. Well, I can’t say you’ve convinced me, but maybe some of those people out there will feel differently about what you’ve said. Thank you for your time.”
And yes, if you liked The Goose Finder, you’ll like this too. As with the earlier book, I laughed out loud multiple times reading it. It has the same zany, absurd, laugh-a-minute style as it recounts the history of John Warbly, Chad Crackleman, Portman Humberson, and, of course, Old Man Cornwell, as they combine their musical talents and embark on a wild and tumultuous journey.
Once again, it’s really impossible for me to describe the book, so let me offer a few quotes. Here’s the description of Old Man Cornwell:
“He seldom spoke, and when he did it was usually in a confusing and cryptic way, often utilizing spiritual symbolism and references to ancient mythology. Sometimes he would imply that he was older than time itself, but when asked to further explain his meaning, he would simply chuckle and change the subject to the price of gasoline.”
Or this, when the band has its first hit:
“Despite insisting he wouldn’t let success change him, John instantly let success change him in numerous ways.”
Later, when the band breaks up, Portman takes up a new profession:
“…writing political thriller novels, including but not limited to The President’s Secret Code, Senator/Spy, and The Shadow Government That Covertly Rules the Country and is Run By the Ghost of Warren G. Harding.”
I don’t mind telling you, I really, really want that last book to be real. Maybe Shatzer will consider writing it next.
Maybe none of this makes you chuckle, but if it does, I highly recommend checking this book out. It’s a short read, but given that there’s a laugh on every page, it’s well worth it.
[Audio version of this post will be available as soon as possible.]
This is a classic mystery, in the vein of Agatha Christie. We have a brilliant detective, Professor Edwin McGorgol, and his not-so-brilliant, but good-hearted sidekick, George Hockney. There’s a hotel full of suspects, snobbish rich types, a femme fatale, and an escalating series of crimes that put the pressure on them to solve it before it’s too late.
Oh… and did I mention they’re all birds? Well, they are. McGorgol is a sandpiper and Hockney is a seagull. All the characters are different types of fowl that suit their personalities perfectly. Also, the book is illustrated, which only adds to the charm.
And I have to say, while this is obviously designed for kids, the mystery was still well done. I’ve read mystery novels for adults where the solution was more obvious than it is in this one. I had my suspicions, but I was still eager to see how it would all play out.
But the best part of all is the afterword, where we get the story behind the story, of how it all came to be. That story really made me smile.
This is a short book, but it packs lots of lighthearted humor into a small space. It’s a fun read for all ages. I highly recommend it.
Best Presidential Candidate for Gilbert and Sullivan Lovers: Russ Sype
Best Presidential Candidate for Literary Fiction Lovers: Mark Paxson(Technically, Mark’s campaign is for 2020, but he declared in 2019, so I’m counting it. If that’s wrong… then Mark will just have to pardon me when he wins.)
Go ahead, say that title out loud. (Okay, maybe not if you’re in a public place.) “Billy the Kid vs. Dracula.” The words seem intrinsically strange together, and become even more bizarre when you know that William Bonney, the famous outlaw known as “Billy the Kid,” was shot to death by Sheriff Pat Garrett in 1881, 16 years before Bram Stoker published his Gothic novel of vampire horror, Dracula.
Now it’s true, Stoker’s vampire was based on Vlad III Dracula, who lived in the 1400s and thus—if he had been an immortal vampire, which most reliable historians seem to feel he wasn’t—might have found his way into a showdown with the famous outlaw.
But as the film begins, it quickly becomes clear that these details do not matter after all, because Billy the Kid isn’t really Billy the Kid—the film apparently is set in some sort of alternate history in which Mr. Bonney abandoned his outlaw ways, did not run afoul of Sheriff Garrett, and instead became foreman at a ranch, where he is engaged to marry the young daughter of the ranch owner.
Careful students of the craft of storytelling may here ask the question, “Why did the writer choose to tell a story about Billy the Kid in which Billy the Kid does not act like Billy the Kid, but somebody else altogether different?” Careful students of the craft of storytelling are advised to take a stiff drink before going any further, because it is also worth noting that the vampire is not once referred to as Dracula throughout the entire film.
So, it’s Billy the Kid vs. Dracula, except Billy the Kid isn’t Billy the Kid, and Dracula isn’t Dracula. All quite clear? Smashing! We proceed.
The film begins with the vampire, (played by John Carradine who portrayed Dracula well in the surprisingly decent film House of Dracula) descending upon a family of German immigrants traveling by wagon in the American west. He bites the young daughter of the group, but is warded off at the sight of a crucifix.
Later, the nameless vampire comes upon a stagecoach, carrying wealthy travelers towards their ranch, where, he learns, their beautiful niece Elizabeth resides. He is much taken with a picture of young Elizabeth shown to him by the travelers. When the coach stops for an evening, the vampire attacks a young Native American woman camped nearby, sparking the rage of the rest of the tribe. They assume it to be the work of the stage coach’s occupants and retaliate by killing them—allowing the vampire to assume the identity of the ranch owner and Elizabeth’s uncle, Mr. Underhill.
Meanwhile, William Bonney and young Elizabeth are playfully shooting tin cans and flirting with each other, much to the annoyance of the previous foreman, who watches jealously from afar. Apparently, being foreman also entails being Elizabeth’s lover, since apparently Billy took both positions from him at the same time.
Realizing that Elizabeth’s uncle Mr. Underhill is due to arrive in town soon, Billy rides off to meet him at the saloon. He arrives just after the vampire, posing as Underhill, has come to the saloon and taken a room. Moments later, the immigrant family arrives, still shaken by the earlier vampire attack, and are horrified when their daughter recognizes “Underhill” as the vampire who attacked her. However, he is somehow able to convince them that he is not a vampire, and, as a gesture of goodwill, allows them to take his room for the evening while he follows Billy to the Underhill ranch.
But of course, this is all a diabolical trick, and the vampire returns that night to finish the job on the poor immigrants’ daughter. Meanwhile, Billy and Elizabeth ponder the idea that there is something odd about her uncle, although what it is they can’t quite put their fingers on…
What could it be?
So, after much riding back and forth, Billy getting into a brawl with the ex-foreman, and the old immigrant woman’s attempt to keep the vampire away failing, Elizabeth is carried off into a makeshift lair the vampire has created in an abandoned mine. Billy rides there furiously, ignoring the town doctor’s advice that to defeat the vampire, he must drive a stake through his heart. Instead, in typical outlaw fashion, he tries to gun him down with his revolver. But the bullets have no effect.
Okay, look: I know it’s absurd to complain about logic in a film called Billy the Kid vs. Dracula. But I can’t help myself. Bullets are just fast-moving, miniature stakes, right? So why shouldn’t they work on the vampire? Now, you might say, “Well, they didn’t hit his heart, so it didn’t work.” I could buy that… except that then Billy throws his gun at the vampire and hits him in the face and knocks him down!
Seriously, what is this? If being hit with bullets didn’t hurt him, why should being hit with a much slower-moving hunk of metal? I know, you all are thinking I’m being Comic Book Guy at this point, but I have a reason for talking about this, and it’s not because I’m one of those people who is going to go off and start a petition demanding that Billy the Kid vs. Draculabe remade with proper consultation of a period firearms expert and a close-quarters combat specialist.
The reason is because it’s an important lesson for anyone who writes fiction: there are bound to be illogical things in any work of fiction. That’s a given. If there weren’t, it wouldn’t be fiction. But the important thing is that the logic must be internally consistent. We get to make up our own rules for our fictional worlds, but they must never conflict with each other.
All right now, where was I? Oh, yes! So, Billy then stabs the vampire through the heart with the doctor’s stake, and releases Elizabeth from the spell the creature placed on her. He then carries her out of the mine, in the words of Wikipedia, “presumably to live happily ever after.” I love that use of “presumably.” Like, we think they’re going to live happily ever after, but who knows? It could be they’ll realize that they’re just two very different people who happened to get involved in this weird vampire business, gradually grow apart, and eventually come to the point where they argue over petty things like who should do the dishes before finally realizing that they need to go their separate ways.
So we’re 1,097 words into this review and you’re wondering, “Berthold, why are you even writing about this random lousy 55-year-old movie?”
The reason is very simple: I’m fascinated by the Weird Western genre. I like westerns for the desolate desert landscapes and their frequent use of themes of loneliness and revenge, and of course, weird supernatural horror was my first love in fiction, and the combination of the two will always interest me. And so while I’ve made a huge amount of fun of the film, it’s nonetheless, in its own odd way, significant as one of the first Weird Western films.
I mentioned the title at the beginning because I honestly think that a competent storyteller could make something interesting out of that. Make Billy the Kid be honest-to-God Billy the freakin’ Kid, the ruthless outlaw who boldly escaped from a New Mexico Jail, and have him encounter a vampire while on the run from the law, somewhere in the gorgeous New Mexico landscape. A skilled writer could spin all kinds of compelling yarns about death, murder and revenge out of that.
But, instead we got a move that shows a vampire strutting around in daylight! For shame!
That’s okay, though. They say that once you invite the vampire in, your fate is as good as sealed. And since early Weird Westerns invited the vampires west, it’s paved the way for all sorts of interesting stories to follow.
Galaxy of Fear was a series of horror-themed Star Wars books for children published in the late ‘90s. I was a huge Star Wars fan as a kid, so as you can imagine, I gobbled them up. I’m not sure if these were the first horror books I ever read, but they were the first ones I remember reading, so they always have a special place in my heart.
The books follow the adventures of Tash and Zak Arranda, two children orphaned after the destruction of the planet Alderaan, now under the care of their “uncle”—a scientist named Hoole, who is a member of a species of shape-shifters known as Shi’idos.
This book is told from Tash’s perspective. She, Zak and Hoole crash-land on a planet called D’vouran, after it mysteriously pulls them out of hyperspace. The population of the planet is friendly enough, although Tash has the canonical “bad feeling” about it. She encounters a mad wandering beggar who warns her about people disappearing. In the fine tradition of Zadok Allen from The Shadow over Innsmouth, he turns out to be on to something with his dire warnings.
I’m going to try not to spoil these books, even though they are over twenty years old and in many cases, kind of give away what the horror is going to be by their titles, covers, etc. Let’s just say the name of the planet is significant. And, since I’m summarizing the series, I have no choice but spoil the fact that Tash, Zak and Hoole ultimately survive, thanks to an assist from the heroes of the original trilogy, which leads us into more horror hijinks with…
City of the Dead
This one is told from Zak’s perspective. He is haunted by a recurring nightmare of the corpses of his late parents tapping at his window. The trio is dropped off on a planet reassuringly named “Necropolis.” Zak befriends another boy who lives on the planet, who tells him about the supposed curse of Sycorax, a witch who lived there long ago, and a dare that involves entering a cemetery at night. Soon after, strange things begin happening, and Zak becomes convinced that the dead are returning from their graves.
This book is, by far, my favorite in the series. I love the setting; a whole morbid planet, gloomily obsessed with death. I love the eerie holographic cover. And I love the fact that my man Boba Fett gets to be the character-from-the-movies-who-saves-the-day-with-his-cameo-appearance this time.
All right, so I’m not doing great at not spoiling this, but I can’t help it! I will say that every book (for that matter, every chapter) ends with a cliffhanger that suggests all is not well. Often, this is not followed up on in the next book, and that’s clearly the case here. This has led me to develop my own completely preposterous fan theory regarding these books, but more on that later. For now, it’s on to…
The good news is, this book is told from Tash’s perspective. I like her better than Zak. The bad news is, the guest star character from the movies is Wedge Antilles. Wedge Antilles seems to be the character who gets shoehorned in whenever Expanded Universe writers need a rebel pilot, but can’t have Luke. I find him boring in all his appearances.
Also, the threat in this book is just not as scary as the first two. Arguably, a plague bio-weapon should be a more realistic concept, but then you see the cover, which basically has the Flemoid King on it, and you go, nah, actually it isn’t that realistic.
This book does get some points for establishing that it is not a coincidence that the Arrandas and Hoole keep getting drawn into these bizarre and horrifying situations, for introducing them to the overall antagonist of the plot arc, who has the awesome name of “Borborygmous Gog,” another Shi’ido who once worked with Uncle Hoole, and for introducing me to the word “ziggurat,” which is fun to say.
Still, I think this is one of the weaker books. Maybe things will get better in…
The Nightmare Machine
It’s back to Zak’s perspective for this one. Which actually works, because they go to Hologram Fun World, a sort of virtual reality amusement park. It somehow seems right for an immature boy to tell this story. The big attraction at Hologram Fun World is “The Nightmare Machine”—a V.R. chamber that shows you your worst fear. A sort of Orwellian Room 101 that you have to pay to enter. I’m surprised Disney hasn’t built one yet.
But—wouldn’t you know it!—something goes horribly wrong with the simulation, and it doesn’t end when it’s supposed to. And once again, we find the hidden hand of Gog working behind the scenes to torment Zak and Tash.
I love the concept here—the bending of reality itself is a great vehicle for horror. How can Zak ever really be sure he’s woken up? City of the Dead is still my favorite in this series, but this one has a really great concept. Also, the celebrity guest is Lando Calrissian. Gotta love Lando.
So, with the amusement park from hell behind us, we proceed to…
Ghost of the Jedi
This is back to Tash’s perspective, and Tash is obsessed with the Jedi. It’s kind of suggested she might be Force-sensitive. She’s been chatting with somebody on what basically amounts to an internet chat room.
Ok… let me pause and explain to you young people… a chat room was sort of like if you had a whole site that was just the comments section. A forum basically, before all of it got jazzed up and called “social media.”
Anyway, Tash’s internet friend, whom I’ll call Master Guccifer because that’s better than his actual handle, turns out not to be entirely on the level. Unfortunately, Tash only discovers this after agreeing to go to an abandoned space station which Master Guccifer has convinced her holds a lot of Jedi secrets.
Is it too much of a spoiler to say that Gog is, once again, pulling all the strings here? No, I don’t think it is. The first five books have all been part of the “Gog” arc—or maybe more accurately, the “Starscream” arc, because that’s the name of Gog’s project.
I do like this tale for two reasons: first, the atmosphere of the space station/library is pretty creepy, and second, because it actually teaches kids a valuable lesson: don’t trust what random weirdos you find on the internet are telling you, even if they claim to be well-read.
Oh, wait a minute. I just essentially told you not to trust me, didn’t I? Shoot.
Well, you have to at least stick with me to see where all this is going! After all, we’re about to finally unravel the mystery of Project Starscream in…
Army of Terror
The Arrandas and Hoole arrive on the planet Kiva, a desolate world, haunted by shadows—ghostly presences, ultimately revealed to be the victims of a failed project Gog had been working on.
Also on the planet, they find an adorable, cuddly creature which says “Eppon.” Deciding that he must be saying his name (like a pokémon) Tash takes Eppon as a sort of pet. Eppon is an adorable, cute little creature who seems like he couldn’t hurt a fly.
But Eppon grows. Particularly, when the rebels guarding him mysteriously die, he grows. Finally, it is revealed that he is Gog’s ultimate creation—Eppon is a mispronunciation of “weapon,” and he is meant to be a monster that will, I guess, go around killing people. It seems like a lot of trouble to go through when there are wild wampas running around Hoth that could do as well. I’m honestly not sure why the Empire bankrolled this project.
And there are more revelations in store! Uncle Hoole (whose first name is “Mammon”)was Gog’s colleague in the disastrous project that created the shadowy ghost-presences. The creatures have been seeking their revenge upon Hoole, but then realize it was actually Gog who destroyed their planet, and accordingly, decide to kill him instead.
Okay, I know I’ve poked a lot of fun at these books, and they aren’t really supposed to be taken seriously—they’re pulp sci-fi horror for kids, after all. I’m told they’re a knock-off of Goosebumps. Having not read Goosebumps, I wouldn’t know about that.
But all that being said, I like these ideas. I like that “Eppon” is how the little creature misunderstands his name. I like that he is ultimately shown to be as much a victim of Gog’s madness as much as anyone else is. And I love how Uncle Hoole has been seeking redemption for his role in the vast tragedy that destroyed the planet. (In a way, it’s a forerunner of the central theme of Knights of the Old Republic II, the greatest Star Wars story of them all, in which the destruction of Malachor V by the Mass Shadow Generator still haunts all the characters.)
The whole arc is at times silly, at times a bit groan-worthy, and definitely too filled with Original Trilogy characters wearing sandwich boards to remind us that yes, this is totally a Star Wars book. But for all that, it’s a satisfying story, with some scary concepts, and good characters. Yes, Zak is kind of one-dimensional, but Tash and Uncle Hoole are interesting, and even grow a bit over the series. And I didn’t even mention the dry, professorial droid DV-9, who serves as the children’scaretaker when Hoole is away. He’s less annoying than C-3P0, that’s for sure.
Now, because this is Star Wars, we can’t just quit while we’re ahead and be content with a nice satisfying story, and as a result, there are six more books after the “Gog “ or “Starscream” or whatever-you-want-to-call-it arc ended.
These books aren’t as good. Now it’s just the Arrandas and Hoole roaming around at random and somehow getting involved in more bizarre and horrific things—but this time there is no reason for it. Maybe it’s just me, but if the same three characters are going to keep having adventures, I like it to be for some discernible reason. Just having them keep happening to stumble into brain-transplant experiments orinfestations of billions of insects or whatever the hell Spore is doesn’t work for me.
Although to be fair, the cover of The Swarm is pretty awesome:
There are more cameos too, including Jabba the Hutt, Admiral Thrawn, Boba Fett (again), Darth Vader (again) Yoda, and Dash Rendar.
Remember what I said about Star Wars writers using Wedge Antilles as a poor man’s Luke? Well, Dash Rendar is the same thing for Han Solo. And I get it: we all like the idea of a roguish smuggler with a dark past. But Rendar never worked for me—he just screamed “We wanted to have this be Han Solo, but we can’t, so we made up this guy, who flies a similar ship, acts a similar way, and basically does all the same stuff as Han Solo would do.” I liked Shadows of the Empire—both the game and the book—but Dash Rendar was definitely a weak point. The part where Xizor tries to seduce Princess Leia was the highlight of the book, and the space battle at the end was the highlight of the game.
Anyway, what was I talking about? Oh, right—so the random weird stuff cycle of Galaxy of Fear; it isn’t as good. But there are a few interesting things, even so. In particular, book #11 Clones. I forget all the details now, but somehow or other, there’s this place churning out evil clones of people for some reason. For perspective, even Darth Vader has an evil clone. Think about that.
This is interesting given that only a few years later, George Lucas would make Attack of the Clones, where we learn that all the stormtroopers are clones. I realize that continuity isn’t a priority in this universe, but I would have thought Lucas would have at least bothered to tell whoever was in charge of content control, “Hey, I have it in mind to do something with clones in a future movie. Tell people not to use that in any spin-off stories.”
Oh, well. It’s Star Wars. If there’s one thing you can say unequivocally about Star Wars, it’s that none of it makes any sense whatsoever. At this point, it really has become a modern mythology, with various mangled versions that spring from the same set of ideas, but diverge in wildly contradictory ways. Future anthropologists may someday try to piece the whole mess together in an effort to understand the beliefs of 20th and 21st-century humans.
But while it may not have made sense, Galaxy of Fear was a lot of fun for an 8-year-old kid discovering he liked horror and sci-fi.
Now then, I promised you a totally preposterous fan theory. There is one way the second half of the series could be made to work; a way that would explain why all this stuff keeps happening to Zak and Tash, even after the defeat of Gog and everything else: what if Zak has been trapped in the Nightmare Machine the entire time?