I hardly know where to begin with this review. There’s so much I love about this book, from its well thought-out and detailed futuristic world-building, to its treatment of how the history of present-day Earth is reconstructed in the distant future, to the way it blends political intrigue, action, romance and just a dash of humor into an effective story.
The novel follows the crew of ESS Springbok, a powerful military spaceship. The Springbok becomes entangled in an battle precipitated by a powerful politician’s son. From there, the crew takes on a group of rough but honorable space marines, and sees more than their share of ground and space combat as they fight through more conflicts created by the political machinations of scheming politicians and bureaucrats.
The characters are great. There’s the honorable Captain Evander McCray of the Springbok and his lover, the lethal super-spy Aja Coopersmith. The villains are eminently hate-able, and there are other characters who are neither all good nor all bad. Captain Chahine, who commands a huge ship that battles the Springbok, was a particular favorite of mine.
There are also some great references to history sprinkled throughout. Captain McCray’s interest in piecing together Earth’s history starts out as just an amusing bit of comic relief, but it ultimately becomes key to the climactic battle sequence when, inspired by Hannibal’s use of elephants, he…
Ah, no; I can’t spoil it. Because it’s brilliant. An ingenious bit of world-building that becomes important to the plot, that’s all I’ll say.
I do quibble with the number of times that secondary female characters are forced to suffer at the hands of the villains. Female characters who exist just to let baddies prove their badness is a bit of a pet peeve of mine; although I can hardly argue with its effectiveness in making readers hate the villains.
Apart from that, this is basically a perfect book for me. It came recommended by Audrey Driscoll, and as with Lorinda Taylor’s Man Who Found Birds Among the Stars series, I’m so grateful to her for bringing it to my attention. It’s another wonderful example of how to do sci-fi, using an imaginary futuristic world both as a vehicle for exploring deep ideas about society and human nature as well as envisioning new technologies. And it does all that while still telling a gripping story with memorable characters.
If you like sci-fi, especially military sci-fi—and I know many people who read this blog do—you have to read this book. It’s a gem of the genre, pure and simple.
Now, I have a question only an economist would ask. And the fact that I’m even asking this question is a testament to the world-building here.
The citizens of the Egalitarian Stars of Elysium use the barter system. Supposedly, this makes them more advanced than the primitive Madkhal, who use fiat currency. We’re to believe that nanites and additive manufacturing eliminate the need for currency in such a developed civilization.
Maybe it’s a failure of my imagination, but I have trouble buying this. (No pun intended.) If their manufacturing capabilities are really so good as that, then they haven’t made fiat currency obsolete, they’ve made trade obsolete. Either people have items of different worth for trading, or they don’t. If they do, than they need a reliable medium of exchange and store of value to express it. If they don’t, then they don’t need to trade. If you and I both have the ability to produce for ourselves everything that we need, we have no reason to trade with each other. Tell me if I’m wrong about this.
Again, it’s a credit to how invested I became in this universe that I was even thinking about this issue. So don’t let it stop you from buying—or, for that matter, bartering for—this fantastic book.
This is a departure from the kind of book I normally review. I mostly focus on reviewing modern indie books. This book was published in 1974, and while it isn’t exactly a famous book, it’s reasonably well-known. (375 ratings on Goodreads.)
So, why am I reviewing it? Well, I picked it up on a lark after seeing the cover and decided to give it a try. It’s sci-fi, which I like, and it follows a team of researchers exploring a distant planet.
The protagonist is researcher Ian Macauley, an introverted and extremely intelligent man who is part of the new rotation of scientists journeying to the world of Sigma Draconis. Supervising the team is General Ordoñez-Vico, an authoritarian martinet with little appreciation for science and a great deal of paranoia. Ordoñez-Vico is authorized to make a recommendation to the Earth authorities on whether the mission should continue, and all the science team walks on eggshells to avoid enraging him.
This makes their already difficult task more complicated, as they are facing the incredible challenge of reasoning out what befell the race of beings known as the Draconians, an intelligent race which went from the Stone Age to the Space Age in a very short period of time–and then to extinction shortly thereafter.
The science team is an international coalition of researchers–brilliant people from various fields and all different backgrounds. And even so, they all find themselves turning to Ian for inspiration, as his brilliant, empathic mind–which he likens to a “haunted house”–tries to unravel the mystery.
The characters are well fleshed-out and believable. There’s a romantic subplot between Ian and Cathy, another member of the team, and it doesn’t feel tacked on at all; it seems completely believable and emotionally consistent.
There isn’t much “conflict” in the typical sense; it’s really a mystery. The main plot is centered on uncovering what happened to the Draconians. Some readers might find the middle section of the book a bit talky–it’s a fairly realistic depiction of scholars arguing over theories–but personally, I liked it. It made for a compelling intellectual exercise, and while it’s sometimes a bit verbose, it makes sense that scientists would have discussions like this.
Another terrific concept is the method Ian uses to try to get “in the minds” of the extinct race. I won’t spoil it, but it really is ingenious.
Something else I won’t spoil is the answer to how the Draconians went extinct. The ending of the book does explain that, in a way I found satisfying and logical. And there is a resolution for the human characters’ storylines as well. Though here I’ll risk a little bit of spoilage to note that readers should be warned: this isn’t an upbeat book. I won’t say too much, but don’t expect the sort of sci-fi story that ends with a victory parade and a medal ceremony, let’s just leave it at that.
There are a lot of elements of the horror genre in Total Eclipse. The premise of a team of scientists researching alien life in a remote and forbidding setting is a classic horror concept that runs from At The Mountains of Madness through Who Goes There? up to the Alien prequel Prometheus. Yet, this isn’t a horror novel, or at least not in a monster story kind of way. There is horror, but of a more subtle, realistic kind, and blended very closely with the wonder of exploring a new world, utterly different from our own.
The horror and the wonder mingle together to produce a profoundly weird and memorable mood. It’s something close to the feeling of sublime terror that the literary Romantics of the 18th and 19th centuries sought to evoke with Gothic fiction, and yet at no point does it suggest there are magical or supernatural elements at work. The “science” in “science fiction” is definitely emphasized throughout.
And now–even though I promised I would try to stop doing this–a word about the cover. Or rather the covers.
The cover for the Kindle edition that I have is just whatever. It fulfills the minimum requirement of having the author’s name and the title displayed clearly and legibly, but other than that, has no artistic merit whatsoever.
The cover for the paperback edition, pictured above, is a major reason I bought this book. I saw it on Henry Vogel’s Twitter page, and I fell in love at once. Look at it–it’s beautiful. Mysterious, evocative and intriguing. To me, the style of art that went on the covers of these classic sci-fi tales was something of a high point for cover design. Modern photo editing software allows cover designers to create wonderfully realistic images, but these often fail to capture that unique blend of star-gazing romanticism and gritty reality that these older covers do.
I recently reviewed Henry Vogel’s Sword & Planet book Scout’s Honor. While browsing his other works, this book caught my eye because it appeared to be more traditional spacefaring sci-fi, which is one of my favorite genres. And it features a pair of likable characters going on adventures, another premise that I like.
Matt Connaught is the heir to the GenCo fortune–except that while everyone else believes his parents are dead, his psychic abilities tell him they are still alive. Matt sets off to find them, accompanied by his bodyguard, Michelle. Michelle, the daughter of Matt’s primary security chief, Jonas, has been guarding Matt for years, in the guise of being merely his classmate.
As it turns out, the two have been in love with one another from afar for years, and when they set off on the galaxy-trotting adventure to find Matt’s parents, their romance blooms. The middle section of the book is almost a rom-com in space. I typically don’t read romance, unless it’s blended with some other genre, and that’s exactly what Vogel does here: a romantic road comedy, but in space!
And it’s not all romance–there are plenty of chases, shootouts, and even a few space battles. It’s first and foremost a sci-fi romp, with elements of a techno-thriller sprinkled in. Matt and Michelle are a good couple, and some of the supporting characters are really fun. Flight Commander Nancy Martin is great, and Jonas, with his extreme competence and formal style, is also highly enjoyable. I don’t know that this was the author’s intention, but his manner of speaking made me automatically hear his lines in the voice of Stephen Fry as Reginald Jeeves, which was another plus.
My biggest complaint is that the villains of the story are so nebulous that I was barely even aware they existed. There is some foreshadowing, but when Matt uncovers who is behind the whole thing, it felt a bit out of the blue. (Or is that out of the black, since this is space, after all?)
But in the scheme of things, that isn’t really a problem, because what makes this story enjoyable is the feeling of romance and adventure. The resolution of the plot isn’t as important as the thrill of following Matt and Michelle from one daring escape to the next. It’s an unashamedly fun book. It’s much like Scout’s Honor in that regard: a book that doesn’t take itself too seriously, and invites the reader to come along on an exciting space operatic joyride.
Now, lately in my reviews, I’ve found myself talking more and more about covers. I haven’t meant to do this, and we all know the ancient wisdom “not to judge a book…” etc. This are just my opinions on aesthetics, and independent of my take on the books themselves. I’ll try to cut down on this sort of thing, but I just have to talk about it here.
The cover above is on the Kindle edition that I have. And it’s fine. It maybe makes the book seem a bit more cartoonish than it really is, but it’s distinctive enough.
But, over on Goodreads, I saw this cover:
I love this cover. The font might be a little plain, but that artwork just screams “classic space opera adventure.” There are a couple different scenes in the book this could be depicting, and I feel like seeing it helps me imagine the whole universe of the story. It perfectly captures that throwback, Golden Age of sci-fi vibe that Vogel’s books evoke.
This is a short science-fiction story. Like Hays’ short story Dual Void, it packs a lot of complex philosophical and scientific ideas into a few words. It begins with a professor of astronomy who specializes in Big Bang Cosmology lecturing to an Astronomy 101 class, and proceeds to take the reader on a whirlwind ride that leaves one questioning the nature of reality, the meaning of the universe, and other such deep questions. It reminded me a bit of Arthur C. Clarke’s “The Nine Billion Names of God.” IHU is more surreal, but just as existential.
I can’t say a lot more about the book, given how short it is. Not that I’m concerned I’d “spoil” it, exactly; because that implies giving away some information that explains the whole story. This isn’t a story that can be explained; rather, it’s one of those fictional works that makes you ask questions, that teases your brain a little. And I liked that a lot. One of the great things about science-fiction is how it can make you ponder deep questions like these.
IHU is a good, quick read for anyone who enjoys stories that make you think about complex, abstract concepts.
Small Print is a collection of four sci-fi short stories, all premised around the ways in which advanced technology can disrupt the lives of organic life forms.
In “Data,” a skilled hacker’s curiosity gets the better of him, and he finds out more about his employer’s use of data than he would have liked. In “Juliet,” the subject of an experimental space exploration mission struggles to cope with the loneliness of space. In “Small Print,” a technician on a lunar base encounters a clerical error with severe consequences, and in “Shelley,” a young woman grapples with a mysterious trauma from her childhood.
All the stories are well-written and interesting. I liked “Juliet” the best—it ends with a surprise twist that makes an already powerful story even more poignant. “Shelley” was the weakest in my opinion—which is not to say that it was bad—but I just felt the ending was too abrupt, and the main character’s mother didn’t react to certain developments the way I would have expected her to, based on her earlier behavior.
“Data” was particularly hard-hitting, given how many big governments, corporations, and other large faceless entities have recently become fascinated by “big data,” it’s easy to imagine them abusing it just as they do in this story.
“Small Print” was probably the most complex and layered story in the collection. There’s a lot going on here, much of which I liked. I won’t spoil it, but space ghosts are a thing in this story, and you know that’s going to be a winner with me. However, there were other aspects that were a bit confusing—I had to read the story twice before I fully “got” it. Which isn’t necessarily a bad thing, but I felt like some more fleshing out would have made it better.
I think that’s true of every story in this collection, except maybe “Juliet,” which felt quite complete. They all are promising concepts, but left me wanting more. Which is a very good thing—it’s much better to have a good concept in need of more detail than a weak concept that you try to drag out. I look forward to reading more of Scobie’s work in the future.
I’ve known about this book for a few years, but I kept putting off reading it because the premise seemed so forbidding. It’s set on another planet—Vokhtah—and the characters are all aliens. Well, alien to us, I mean–they are the creatures that evolved on Vokhtah. Not a human to be found, is my point. It’s intimidatingly exotic and strange, and that’s why I didn’t read it for so long, even though I enjoyed Flory’s other, unrelated sci-fi novel Miira.
And for sure, Vokhtah is strange. The most intelligent creatures that inhabit the eponymous planet are a species—or really two closely-related species—with characteristics suggestive of birds, bats and perhaps insects. To make things even tougher, they don’t have names; only titles and ranks. There are traders, plodders, apprentices, healers, and a range of characters referred to only as numbers. Not only that, they are hermaphroditic—so, before mating, they have no defined genders.
Technology on Vokhtah is primitive—it appears to be largely what we would consider Stone or maybe early Bronze Age, although some references are made to machinery of some sort, but it’s not clear exactly how it works. There are different seasons that dictate the tribes’ customs, and time is kept according to the planet’s two suns.
And then there is the language. Obviously, the book is written in English, but the characters speak their dialogue with a different grammar. For example, instead of saying, “Are you hungry,” they would say, “Being hungry?” I don’t think the word “is” occurs once in this book. It gives you the feeling that you’re genuinely reading something spoken in a different language and translated into the closest approximation possible in our own tongue.
I’m telling you all this to prepare you up front: Vokhtah is not a typical or familiar book. The first half or so, you have to get acclimated to the alien planet and its population, their customs, and their ways of life.
Flory does a great job crafting a profoundly different world. Even though I will admit that in the first half I found the story hard to follow, it really didn’t matter because I was just enjoying experiencing the atmosphere. Although it was sometimes hard for me to tell who characters were and how they related to the larger thread of the plot, it didn’t bother me, because I was just enjoying reading these fascinating little vignettes of life on this world.
My favorite of these is the dramatic performance of an old piece of Vokh lore—the story of the Great Nine and the Rogue. We learn that there are actually two versions of this story, and finding out the differences between the two versions and why they exist is just a fantastic concept. I loved this part.
Over the second half of the book, things coalesce, characterizations take shape, and I found myself sympathizing with members of this bird/bat/bug species more than I ever would have believed possible. The journey of the Messenger and the Apprentice along the Spine of the World (great name) was riveting. There’s even a little bit of a mystery element to it as well, which I won’t spoil here.
Yes, this book is different and weird and unlike anything else I’ve ever read. But that’s the point!If intelligent life exists on other planets, it’s going to be bizarre and foreign and at least semi-incomprehensible to human intellects. Reading this book really did feel like being transported to an alien world, and that was fantastic. I wish I’d read it sooner, because it really is a master-class in world-building. Vokhtah is a haunting, vividly-constructed depiction of a fascinating world—one I’d happily revisit.
The First Protectors is a fast-paced military sci-fi novel. One night in the New Mexico desert, Navy SEAL Ben Shepherd encounters a crash-landed extraterrestrial being, which endows him with nanomachine augmentations to turn him into a nearly-invincible super-soldier.
The alien also imparts the history of its species, the brin, a race that fought a brave but ultimately doomed war against another alien species, the mrill, that eventually conquered the brin’s planet. Indeed, the brin who provides this information is killed by a pursuing mrill shortly afterward.
And, Ben learns, the mrills’ next target is Earth. A scout force is already on the way. Ben races to inform his superiors in the military of what he has learned, and provide them with the schematics the brin have given him for how to build weaponry that just might give humanity a fighting chance against the coming invasion.
Earth is plunged into chaos, as the governments of the world scramble to prepare. Ben and some of his SEAL buddies ready themselves to lead the way with their technological enhancements, while politicians, generals and scientists throw all their resources at building technologies they scarcely understand. Of course, not everyone on earth believes the alien invasion story, and soon there are rebel groups trying to seize the moment for their own ends.
All too soon, the mrill arrive, and Ben and company are thrust into massive space, air and ground battles against a terrifying, implacable enemy.
It’s a fast-paced novel, with major battle sequences that unfold at breakneck speed. Godinez’s prose reminds me of Carrie Rubin’s knack for writing easy-to-visualize, thrill-a-minute action scenes. What limited description there is focuses on the military hardware that humanity and the aliens put into the field—from A-10 warthogs to M1 Abrams tanks to futuristic starfighters. Think Tom Clancy meets Robert Heinlein.
It’s a classic alien invasion story, evoking everything from “War of the Worlds” to Mass Effect and Halo. (There’s even an explicit reference to the latter.) The basic concept might not be anything new, but it’s so well-done you can’t help but enjoy it. There might not be a lot of depth or nuance, but that’s okay. It’s not that kind of book. It’s a thrilling adventure story with tons of explosions, big guns, and wise-cracking heroes.
I sometimes hear people say it’s hard to get young boys to read, but I bet they would read this. Godinez tells the story so well you can practically see it unfolding like a movie or video game in your mind’s eye. Though admittedly, the language may not be suitable for kids—the Navy SEALs talk pretty much like one would expect Navy SEALs to.
It was interesting to read this shortly after one of Lorinda J. Taylor’s Man Who Found Birds among the Stars books. Both are sci-fi, and I enjoyed both a great deal, but they present a tremendous contrast in styles. Taylor’s books are deep character studies, with a heavy focus on world-building and characterization. About the only chance anyone has for introspection in The First Protectors are during brief lulls in battle, or tense minutes of reflection before cataclysmic decisions must be made. (Not to spoil too much, but if anyone remembers back to when I reviewed the non-fiction book Raven Rock… well, let’s just say there are some scenes that take place deep within US government bunkers that feel quite nerve-wracking and eerily plausible, quite apart from any alien threat.)
My complaints about the book are quite minor: a few phrases that are re-used (e.g. the construction “If not a sitting duck, then at least a [something else] duck” is used more than once.) But for the most part, the writing is crisp, with some clever turns of phrase. I found only one actual typo—which is extremely good for an indie book.
Also, the ending felt just a tad abrupt, although it’s quite clear that it’s setting up a sequel. You can be sure I’ll read that whenever it comes out.
Finally, some readers might be turned off by the relatively high price of The First Protectors. It’s currently going for $9.27 on Kindle. This is definitely expensive for an eBook, but personally, I don’t mind paying this price. It’s almost exactly the same as the average cost of a movie ticket, and it takes about 5-6 hours to read the book, whereas the typical movie is over in about two hours. I’m not saying that time-per-dollar is the final determinant of quality, but it’s not a bad measure. Especially in this case, when the book feels like the literary equivalent of a summer blockbuster.
Frankly, I’m glad to see someone charging this kind of price for a book, because there’s no doubt that most indie authors feel pressure to sell fantastic work at bottom-of-the-barrel prices. That said, everyone has their own budget constraints for entertainment, so it feels only right to mention this. But speaking for myself, I got more enjoyment for my $9.27 spent on The First Protectors than I have from some films. If you like military sci-fi, this is for you.
The Secha is an ambiguous and somewhat disturbing short science fiction story. The Secha are a race enslaved by another species known as the Bakkens. Although initially the female Secha narrating the story seems resigned to the Bakkens’ treatment of her and her species, gradually it becomes apparent that the order of things she seemingly takes for granted is anything but pleasant.
There isn’t much detailed description of the Secha, which makes their exact physiology a mystery. I liked this; it left it to the reader to imagine their characteristics. The Bakkens are described in a bit more detail, as are another species known as the Ediks.
The disturbing part comes as the Secha describes the things to which the Bakkens subject her and others of her species. It is both interesting and unsettling; and all the more so because of the ambiguity regarding just what the Secha are.
Like some other science fiction I’ve reviewed lately, it’s short, but raises a lot of interesting questions for readers to ponder.
This book is a science fiction coming-of-age tale that tells the story of Robbin Haysus Nikalishin, who from an early age dreams of voyaging to the stars. Set in the 2700s, on an Earth that has been remade after a series of catastrophic wars. A new government has arisen, as well as a new set of moral precepts designed to reconcile as well as supersede the core tenets of the old religions.
Additionally, the passage of time has gradually changed the spellings and phrasings of the English language—itself now called “Inge.” So, the United States of America has become Midammerik, India has become Ind, and so on. The spellings are clever—different enough to convey that the world has changed, but similar enough that the reader knows what’s what.
Cleverly, the book is framed as an official biography written to commemorate Nikalishin, but with the twist that the notes at the beginning suggest the officials who commissioned it are less than pleased with how the author has chosen to depict the subject.
Nikalishin’s life is driven by his determination and unrelenting desire to be a spaceship captain. He studies physics from some of the best professors in the world, and also attends a military academy, all in order to prepare himself for the job of starship captain. He and his good friend Kolm MaGilligoody rise swiftly through the ranks, ultimately joining an experimental program known as SkyPiercer.
Nikalishin’s other interests besides space travel include birdwatching and, of course, sex. He has many romantic encounters with various women he meets throughout his remarkable rise to worldwide fame as a daring space explorer. Some of the relationships last, some don’t, but all of them influence him in one way or another. The romance sub-plots are well done and always are both integral to the plot and right for the characters.
Now, make no mistake, while the book has strong characters and a great plot, it’s not simply an epic space opera. That is, it’s not one of these affairs where space travel is taken as an unexplained fact-of-life to be explained by hand-waving. This is a “hard” science fiction book, and there is plenty of in-depth discussion about the quantum physics involved with making interstellar jumps. But it never feels heavy-handed or dry; indeed, the discussions about physics punctuated by Nikalishin arguing with his professors are quite enjoyable.
That’s the thing that dazzled me most: how alive and organic the whole world of the book feels. It would have been so easy to make it the literary equivalent of a video game on rails: Robbin Nikalishin meets character X who gives him Y so he can advance to the next stage and ultimately be a space hero.
But Taylor didn’t take the easy way. She did the hard, meticulous work of world-building and fleshing out all the supporting characters. I’m in awe of how every character, from Nikalishin’s mother to his best friend to his lovers and even down to the ship’s janitor, are fully-realized and well-described. This isn’t a book, it’s a whole universe rendered in prose.
Oh, and I haven’t even touched on how much I love the depiction of religion. Kolm and his family follow a strain of religion clearly descended from Irish Catholicism. They don’t even fully understand some of the meaning of the symbols and terms of the rituals, but they follow them even so, and it brings them spiritual comfort. I loved the way this was handled—neither stridently preachy nor cloyingly condescending; it felt real.
That’s right, two typos in the whole thing. I don’t have a word count for this book, but I know Amazonestimates the length at 510 pages. My longest book is 308 pages, and it was about 67,000 words, so approximately 217 words per page. If that’s the same here, that means Taylor wrote about 110,670 words, self-edited, and came out with only two minor errors.
That’s insanely good. In the novel, the characters have to make precise calculations, correct down to like the millionth decimal place, before attempting an interstellar jump, or they risk disaster. Taylor obviously has a knack for care and precision that makes her fit to serve aboard one of her own starships!
If you can’t tell already, I absolutely loved this book and I can’t recommend it highly enough. Taylor built a fascinating world, populated it with rich, believable characters, and told a brilliantly paced story about them. This is sci-fi at its best.
Now, I want to talk a little bit about something somewhat spoiler-y. It’s not giving away too much, as it concerns something that happens less than a quarter of the way into the book, but it has ramifications for the rest of the story. Feel free to skip this if you want to go in completely unspoiled.
Nikalishin’s parents divorce when he is a young boy after his father physically abuses him and his mother, Sterling. Sterling raises her son on her own, and makes every effort to see that he achieves his dream of becoming a starship captain.
At some point, in his late teens, Robbin learns that Sterling has been working as an escort for wealthy men in order to pay for her son to attend the schools and take the classes he needs. Robbin is horrified by this revelation, and ever afterward, his relationship with his mother becomes strained. He feels, somehow, that everything he achieves and his relationship with her are irrevocably tainted. They have a falling out, and later a semi-reconciliation, but he can never quite achieve a healthy relationship with her, even when he leaves to risk his life on dangerous space missions.
This made me dislike Robbin. He seemed quite ungrateful towards his mother, after everything she’d done for him. He even, for lack of a better term, slut-shames her at one point, which is ludicrous given that he himself seemingly sleeps with every other woman he meets. (More than one character calls him out on his hypocrisy, but he doesn’t seem to take it to heart.)
In a way, his initial feelings are kind of understandable. We get it, Robbin; you had to think about your mother sleeping with someone, and it grossed you out. But after that moment of revulsion, an adult should realize that parents are just people, and that these are the kinds of situations that happen in life, and then get past it. After all, as Sterling repeatedly tells her son, she did it for him.
Even as a world-renowned heroic starship captain, Robbin Nikalishin really is profoundly childish in many ways. He has extremely limited ability to understand the feelings of women. He’s stunned to discover one of his acquaintances is a lesbian. He doesn’t mind it, per se, he just acts like the concept is completely new to him.
He also has an incredibly bad temper. He is sometimes justified, but even then, he tends to explode in rage at the slightest provocation. Admittedly, the primary antagonist, who does not appear until relatively late in the book, is quite infuriating. But Capt. Nikalishin gets bent out of shape when someone so much as mispronounces his surname. I was rooting for him, but there were still times when I wanted to sock him right in the belly of his beloved military uniform and tell him to grow the hell up.
To be clear, none of this is a complaint about the writing. Quite the opposite, in fact. It’s a credit to Taylor that she was able to craft such a complete character, that a reader could both cheer on and simultaneously find extremely irritating. Too many writers make their heroes one-dimensional cardboard cut-outs, or worse, heroes with one painfully obvious flaw tacked-on just to make them Not Perfect. Capt. Nikalishin is a flawed hero, and better still, he’s flawed in the way that real heroic figures often are. Think about the philosopher Carlyle and his so-called “great men,” who often were impulsive, emotional and obsessed with crafting their own image as flawless paragons. Nikalishin is what I suspect a real-life “great man” is like—which is to say, quite maddening to know personally.
And of course, I should stress that this is only part one of the series. The book ends with an absolutely epic cliffhanger, and I’m eagerly looking forward to finding out how things develop from here.
It’s funny: even though I like writing sci-fi adventures, most of the indie books I’ve reviewed have not been in that genre. I haven’t consciously avoided them; that’s just how it’s worked out. Audrey Driscoll recommended this to me, and I’m so grateful that she did. It was fun to read a book in roughly the same genre as I primarily write—especially one as marvelous as this one. I’m guessing that if you enjoyed my novel The Directorate, you are very likely going to love this book. It’s a brilliantly thought-out and well-executed science-fiction epic.
As one indie sci-fi author to another: Ms. Taylor, my hat’s off to you. This is a really great novel, and for me, it ranks right up there with the best by the likes of Asimov, Clarke, and the other All-Time Greats of science fiction.
A couple weeks ago, Pat Prescott blogged about this film. It’s his go-to escapism movie. I’d heard of it, but prior to Pat’s post had never known much about it. Then I saw it was directed by the same guy who made the science-fiction adventure Valerian and the City of a Thousand Planets,which I enjoyed, and Lucy, which was at least decent. Honestly, I was surprised I hadn’t seen this already, because it sounded like exactly the sort of film I’d enjoy.
And I did. I thought it was better than Valerian. It’s almost impossible to summarize–it starts in Egypt in 1914, when aliens land at an archeological dig site and reveal that they have devised a weapon to combat an ancient evil when it arises every 5,000 years. It requires earth, wind, water, fire and a mysterious “fifth element.” They take this fifth element–which looks like an Egyptian sarcophagus– aboard their ship, telling the human priest who guards it to pass the key on to his successors for when the evil is due to rise again in 300 years.
Fast forward 300 years, and the evil has indeed arisen in the form of a giant, growing orb in space, gradually increasing in size and engulfing everything in its way. From there, the film is a wild ride featuring the fifth element herself (Milla Jovovich), who turns out to be a woman named Leeloo who possesses unnatural strength, an ex-soldier-turned-flying-taxi-driver named Korben Dallas (Bruce Willis), who helps her in her fight against evil, an over-the-top DJ (Chris Tucker) who I initially found incredibly annoying, but by the end thought was funny as hell.
There’s also a blue-skinned opera singer, a race of bloodthirsty shapeshifting monsters, Dallas’ nagging mother, and best of all, the main antagonist, Jean-Baptiste Emmanuel Zorg (Gary Oldman), an evil businessman who seems like a cross between Ming the Merciless and Jerry Jones.
All these characters find themselves battling to find the stones that symbolize the other four elements, beginning with a flying car-chase and culminating in a huge shootout inside a glitzy space resort. And of course, along the way, Leeloo and Korben wind up falling in love.
It’s a good old fashioned, light-hearted sci-fi adventure romp with plenty of humor, excitement, and memorable characters. I loved the futuristic, cyberpunk-ish sets, costumes, and art design. And (because I’m sure you all just have to know) the weapon props were excellent, from the Mauser pistol used in the opening scene to the all-in-one super-gun manufactured by Zorg.
Now it’s true that the computer-generated effects look pretty weak to the modern viewer. But remember, this was 1997, and for the time, they weren’t bad. The gunfight in the resort was especially good. It looked downright gritty.
Is it a deep, thought-provoking tale, rich with allegory, complex characters, and biting social commentary? No, it isn’t. But so what? Not every film should be that–sometimes you just want a fun little story with likable heroes, bad guys you love to hate, memorable scenes, and plenty of funny lines. The Fifth Element definitely has all that. I’m so glad Pat posted about; otherwise I might never have seen it.