Category: Review

Review: Dark War Revelation

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Dark War: Revelation

When I saw Mark Walker’s Dark War series, I knew I had to read it. This was something. This was a supernatural WW3-finally the zombie sorceresses were in their element! The first installment, Revelation, was a real interesting book, but fell slightly short.

Me and the Sci-Fi and Fantasy Reviewer are both covering this book. It fit our tastes, and his review is here.

Icelands

This is a strange book. The story as a whole is a desperately needed reimagining of the genre, but some of its parts, if taken totally in isolation, would resemble a formulaic Fulda Gap tale. A gritty Red Army-level one rather than a Team Yankee style action-adventure one, but still not the most original, if it wasn’t for the monsters.

But the monsters make it stand out. Unfortunately, they don’t really stand out on their own-these are very much run of the mill daylight-vulnerable vampires and silver-vulnerable werewolves.

Rivets

Sadly, this has lots of rivet-counting details and the occasional inaccuracy. The conventional, non-supernatural WW3 battles are decently written, but suffer from the common problem of not being integrated into a cohesive whole that much. The whole story has a little too many rivets for its own good-too many tank gun descriptions and the like. Not too many, but still a little annoyingly.

Zombie Sorceresses

Come on. It’s a supernatural thriller. It feels off to argue “plausibility”.

The “Wha”?

Ok, the plot and characters are rather jumbled.  The prose is kind of clunky and a little too tell-not-showing. More importantly, the horror elements and the “World War III” elements aren’t mixed well. The horror parts are basically genre cliché and there isn’t really any lasting gimmick beyond “there’s vampires and werewolves in WW3 Germany”.

When the supernatural parts are mixed with the exploding tanks, they do well. But too often they aren’t mixed as much as they should be.

The Only Score That Really Matters

This achieves more than the sum of its parts by having the audacity to combine the two very, very different genres together. The pieces by themselves are not the best, though not unreadable either. It’s basically a decent but formulaic WW3 combat tale and a decent but formulaic monster horror tale smashed together like two armored divisions in a meeting engagement on the North German Plain.

But from the novelty factor alone, it becomes worthwhile. The genre needs all the shakeups it can get, and it’s an amusing, entertaining cheap thriller if nothing else.

Review: Team Yankee

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Team Yankee

It’s time to review a classic of the genre. In my opinion, it’s a deserved classic. It’s time to review Harold Coyle’s Team Yankee.

Icelands

Team Yankee is outright stated to use the backdrop of Hackett’s Third World War (although in practice the most important thing to come from it is the Birmingham-Minsk nuclear destruction). That of course was one of the genre definers. And the book itself remains mostly formulaic and dated in hindsight as a genre-definer itself. So yes, there’s a lot that’s familiar. Not just viewpoint characters but also the general gimmick.

But familiarity and even being too formulaic are not necessarily a bad thing. In fact, Team Yankee manages, likely unintentionally, to actually use this quality to its advantage.

Rivets

In my first impression, I stated that the book can get a little too “Herman Melville but for tanks”. I stand by the impression. At the time and/or for an audience that didn’t know as much about tanks or the way they they were used, it wouldn’t be as bad. So like with a lot of infodumpy fiction, I can forgive Team Yankee for that.

Zombie Sorceresses

Here’s where it gets weird, but not in a bad way. See, in theory it should have all the issues Hackett had with contrivances-plotnukes, the setup, and so on. But….

The “Wha?”

Ok, here’s how the book becomes more than the some of its parts. It manages to flip the zombie sorceress over her head in a judo throw, turning what might have been a weakness into a strength. The book moves very fast and starts very fast, using Hackett as a convenient plot-filler. The war starts at the end of the first chapter, a relief compared to some other tales with excessively long, ill-handled setup segments.

There’s bumps of course. The wife subplot gets in the way somewhat, there’s still a few too many viewpoint characters, and the Soviet characters exist to twirl their mustaches. But it manages to have something a lot of other thrillers don’t-coherence.

The Only Score That Really Matters

Coherence makes Team Yankee more than the sum of its parts. A lot of other stories feel like bowls of ingredients. This feels like a cohesive meal. A lot of the theoretical dislikes are still in place (viewpoint characters, etc…), but it feels like a steady, cohesive road as the tanks roll through Europe. That’s sadly something I can’t say for too many other stories in the genre. Team Yankee is still ultimately a cheap thriller with tanks exploding, but it’s a good cheap thriller with tanks exploding.

But Team Yankee is not just good on its own terms. It’s one of the two books, alongside Ralph Peters’ Red Army, that I’d recommend to any aspiring WW3 author. The two are night and day. Team Yankee is a triumphalist star-spangled American victory, Red Army a grittier Soviet win. They both give an idea of how to make an effective World War III story using two very different tones.

Review: Axis of Evil

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Axis of Evil

As much as I may like to review classic WW3 books, I cannot stay in Cold War Germany forever. So to avoid burnout, I decided to go full circle. The origins of the technothriller genre are in the “invasion novels” of the 19th and early 20th centuries. The Anglo-American invasion novel has, given the logistical issues faced in crossing water, always had an air of unreality to it.

Besides taking the basic tone over, some tales had the invasion happen directly, with Red Dawn being the most famous example. Although mainstream invasion tales declined, independent writers were happy to fill the gap. Searching for a hidden gem amongst the-er, “mediocrity” (to be generous), I found Axis of Evil, the (supposed) story of an EMP-spearheaded invasion. I figured it’d be a good enough test case. As it turned out, the genre wasn’t quite what I’d thought, and it had quite a few problems.

Icelands

As this isn’t a “classic” World War III novel, the Iceland system doesn’t really apply here. However, the thriller parts are comparably formulaic by the standards of the genre, and I would have seen everything coming even if it wasn’t the first in a long series.

Rivets

This book is surprisingly rivet-light. There’s details but not too many details. Perhaps I’ve just read more rivet-company storage warehouse-level stories, but this isn’t too bad. It earnestly tries to be human, not mechanical.

Zombie Sorceresses

Seeing an EMP expert give the foreword made me suspicious. My suspicion was “it will be technically, nominally accurate for the main event, but everything else will be completely ridiculous.”

I was right. I don’t know enough about EMPs to question it, but I was willing to let any inaccuracy slide for the sake of the story. Everything else, though? Yeah. My suspicions were well-founded.

Granted, the Anglo-American invasion novel, as opposed to the continental invasion one where a legitimate threat is more plausible, as always needed some zombie sorceress intervention to get going.  Likely the sobering threat of real conflict in the Eurasian continent makes fanciful threats less likely and appealing, but that’s a topic for another time.

This has 20,000 North Korean commandos infiltrating into the US without the slightest suspicion through the Canadian border that the country foolishly neglected to wall off as well. (You can guess the politics of this book, if the genre wasn’t a clue enough.) But the zombie sorceress contrivances are compounded by a massive plot decision.

The “Wha?”

The zombie sorceress handwaves are best handled as a setup that is quickly moved past, and that even those who dispute it can recognize as vital to the setup. Yet the “I’m gonna make this a long series” effect means it’s dwelled on. And dwelled on. The pacing is execrable. The EMP itself doesn’t happen until the literal end of the book, as a cliffhanger.

It can be forgiven as setup for the action to come, at least if the setup was any good. There’s a fourth-rate “thriller plot” as American operators battle the Iranians and North Koreans, a huge quantity of political infodumps, and, most importantly, Texan bull riding. Oh yes, that bull riding. This is a very Texan novel. The bookends literally involve someone attempting to ride a particularly ferocious bull. The characters are either stereotypically Texan or stereotypically anti-Texan, if you know what I mean.

 

The Only Score That Really Matters

I don’t want to be a Sneering Internet Critic. The whole point of this blog is to be fair and evenhanded, not hyperbolic.  It’s just-I didn’t find this book to be that good even by cheap thriller standards. Some of it might be that it’s more of a “survival novel” than the “invasion novel” it initially came across as, but the problems go far deeper than a mislabeled genre. Even accepting that its politics would be what they were, the action is pedestrian, the infodumps annoying, and the characters still ill-developed author mouthpieces. But the worst part by far is the pacing, clearly designed to drag out the story over as many installments as possible.

A cheap thriller can be many things and still be enjoyable. But it cannot be slow-paced, and it cannot be dull. By failing here, Axis of Evil fails on a fundamental level.

Review: The Red Line

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The Red Line

The Red Line by Walt Gragg is a recent WWIII book that happens to have been one of the few in the timeframe released by a mainstream publisher, Penguin Random House. However much I may criticize the actual book itself, the perseverance of its author, continuing for decades until he finally achieved the all-too-rare dream of such a publication, deserves nothing but praise.

As for the book itself, it would have been a routine (by my standards) cold-war-hot thriller with a few ups and downs. However, one thing made it either worse or better. That would be the way it was modernized.

Icelands

The path of the war is mostly following the understandable formulas-infodumps, viewpoint characters, a few plot-nukes, NATO winning, the drill. However, the only real twist isn’t formulaic-in a bad way.

Rivets

There’s some rivet-counting, and it doesn’t quite match the smooth flow of Peters’ Red Army in terms of removing almost all exact designations, but it’s not quite that bad. And yes, there’s the Conference Room Infodumps, which are out of place in what’s generally a low-level story.

What the “rivet” descriptions illustrate is how dated a lot of it is. I don’t fault writers for writing what they’re familiar with. But this is supposed to be a modern story, and the way it’s handled, well, see below.

Zombie Sorceresses

Oh, oh, boy. This book was, by its author’s own admission, originally written just after the Cold War, and initially imagined during it. But, at some point it was decided to make it “modern”. In practice this means nothing but changing the names of a few platforms to things like “Su-35s”, “T-90s”, and “F-22s” in a very shoved-in way.

What really made even the zombie sorceresses go “we’re gonna do what?” was the political backstory, engineered to turn the clock back to 198X while keeping things “modern” (quotes deliberate). The well-run trope of Russia turning red again is used, but that isn’t the weirdest and craziest part of the backstory. That goes to Manfred Fromisch.

So, the restored Red Russia tries to reclaim East Germany using street provocations, then Fromisch, a neo-Nazi leader and, according to the text itself, “evil man of no more than five feet”, tosses the Communists out of East Germany with his followers and, as a result, becomes a shoo-in for chancellor in the next election with an 80% approval rating. This angers the Russian (or is it Soviet) premier, who then plots the invasion of Germany. Cue the tanks.

The backstory combines the worst “set up World War III” parts of Cold War technothrillers with the most ridiculous contrivances of post-USSR technothrillers. While it doesn’t dominate the book, it’s still there in an embarrassing way.

The “Wha?”

So, with this background and scotch-taped “modernity” in mind, how’s the substance beyond the ridiculous backstory?

It’s alright. The prose is a little too flat-certainly far from being the flattest or dullest I’ve seen, but still a little flat. The characters, beyond the red and brown supervillains, aren’t that well developed. As for the action, I’ve seen better but also seen worse. Likewise for the pacing, which has the “big story in one small self-contained book” problem I’ve seen too often with other technothrillers.

Gragg has repeatedly said in interviews that he wrote the book as an anti-war novel. While I can definitely see that intent in the story, I feel it doesn’t work in that sense. At best, it falls victim to the “Truffaut effect” of trying to balance a sincere message with exciting action and not succeeding. At worst, the whole goofy supervillain backstory sabotages the message big time.

I’m not the most qualified to judge the small-unit actions, because I’ve read so many of them, but they have the same “not too good, not too bad” issue. This, of course, puts them in the category of merely decent. But decent is better than bad. It’s not unreadable and has its moments.

The Only Score That Really Matters

If you want a somewhat gritty cheap thriller involving tanks exploding in WWIII and/or want to take in the so-bad-its-good backstory and “modernization”, you could do worse than this book. Just don’t think of it as a modern story, and treat the “modern” unit names as typos the zombie sorceresses manipulated into the page, and it can work as a good enough time-passer.

But that backstory…

Review: Chieftains

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Chieftains

Chieftains is an early WWIII novel (published in 1982, likely written before that) starring the titular tanks. I figured it’d be good for an initial review, as it falls nicely in the middle. It’s well-known but isn’t quite on the same level as some of the “classics” like Red Storm Rising itself. It’s also more in the middle literature-wise.

Icelands

Chieftains actually avoids many of the tropes that would make up the Iceland scale. It stays concentrated on the ground and ends in a nuclear blast. However, I believe this to more the result of its early publication, before the genre really gelled, than any degree of brilliance on Forrest-Webb’s part. It does have a lot of hopping viewpoints, mostly for the worse.

Rivets

The rivet-counting doesn’t (mostly) go into too much detail about which battalion went where, but it does go into heavy technical detail with unit designations and gun barrel sizes. Here’s where the sloppy, uneven quality of the book comes into being. The descriptions of British equipment are mostly accurate, but the American and Soviet equipment descriptions-aren’t. Especially with hindsight.

An East German Su-15 (an interceptor that served only in the specialized Soviet Air Defense Force, and which would never flown over foreign soil), fires an AA-8 missile (in reality a light air to air missile), at a ground target, to give one particularly egregious example. All sorts of prototypes and prototype names get to the front, and there’s even occasionally something like pure sloppiness, with a reference to a “T-60” tank. Including a lot of the detail and getting it wrong just seems pretty dubious-either do the research or be less “specific”.

Zombie Sorceresses

The zombie sorceresses are mostly in the background here. The war starting is glossed over, and the final nuclear blast is vague enough to not fall into my pet peeve of “plot-nukes”. To its credit, the explanation for the war starting is vague and contrived, (NATO will soon climb out of its pit and the Soviets must strike when they can) but still handwaved past quickly to get to the action. This is well-handled, and the low-level focus of the book keeps their hands from showing.

The “Wha?”

Like with the technical details, Chieftains is wildly inconsistent in literary terms. The same trend holds. British scenes and characters are mostly good, while the Americans are less so, to put it mildly. Given how Forrest-Webb portrays the Americans, I shudder to think at how he would have handled Soviet viewpoint characters. Thankfully, he doesn’t have them. The characters are serviceable by tank novel standards, and the disruptions are never that immense-the story still flows, and flows very well in spite of them. It does end too quickly even given the circumstances-its ending is like if Dr. Strangelove stopped right after the guy rode the bomb down.

The entire American segment could be cut without hurting anything. The occasional cut away from the British tank unit could be cut without hurting anything. And, finally, the “capture scene” could definitely be cut.

The action is gritting, bloody, and effective-except for the “capture scene” where the tank regiment’s commander is captured, has a flashback to sleeping with a colleague’s wife after being told of it by his interrogators, gets shot, gets up, and then shoots up the camp like an action hero, killing his torturer in a cinematic way with grenades. It’s out of place. Very out of place.

A small issue is the tone. A lot of the time it has an implicit anti-war tone simply by showing the brutality and gore first-hand, but it has a clashing explicit “this is why we need more money for the Army the politicians starved” message sometimes that also gets in the way. Bigger than that by far is the prose. Forrest-Webb’s writing is kind of clunky and he loves his exclamation points a little too much.

The Only Score That Really Matters

I liked this book. It’s a good tale of tanks exploding, and it’s got a degree of real grit to it that a lot of otherwise well-written books don’t have. I would have loved it if it wasn’t for the unevenness and sloppiness. But the sloppiness is there, and while some of the unevenness is forgivable, more of it is not.

This is a good tale, but it could have been a great one with some polish that it simply doesn’t have.