Fuldapocalypse Blog Plans

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Fuldapocalypse has been very, very effective for me. Going in, I expected to be reviewing on a very narrow continuum from Hackett/The War That Never Was on one end to Red Army on the other. To distinguish the works in this one narrow, specific, subgenre, my formal scale would be useful in determining just how they differed.

Then I started branching out. I think it was my review of Axis of Evil that proved surprisingly good-while I didn’t think that highly of the book itself, I liked that I branched out from the “classic 198X WWIII” genre. This was coupled with me realizing that military/techno/action thriller fiction was a lot more varied than my previous narrow perspective had indicated. And that was a problem for my scale. It’s wonderful for me, but it’s not so much for a very strict scale.

The Scale

Obviously, “The Only Score That Really Matters” is fine. So is “The wha?”, although some stories are meant to be more character-based than others.

I have a little bit of an issue with “Zombie Sorceresses”, although I’d think it’s a matter of bias. I think a contrived scenario is more easily “swallowed” by me if the surrounding story is good or if the reveal is handled well. And I think a problem happens, as has happened in this blog, a story that’s explictly paranormal happens.

Then there’s “Rivets”. I think my biggest problem with “Rivets” is that this genre tends to be very infodumpy, and almost everyone already knows this. It’s like going shopping for giant SUVs and being told that they don’t get the best gas mileage. Yes, it’s true, but it’s also not exactly shocking. I feel like I’m repeating myself. “Yes, this has a lot of infodumps in it”. “Yes, this also has a lot infodumps in it.” “Yes, this also has a lot of infodumps in it”.

But the biggest and most jarring one is “Icelands.” It’s both too prescient and too inaccurate at the same time. At one end, it can be like “Rivets”, where I’m repeating that a book in a genre has most of the cliches from that genre. Not exactly shocking. At the other, well, the Iceland Scale itself feels irrelevant if applied to a genre other than “Red Storm Rising knockoff.”

Then there’s the lack of an ‘action’ category in the scale. It’s kind of folded into “The ‘Wha?'”, but given that cheap thrillers live and die based on how good the action is, I figure it deserves more focus.

So I might change some scale categories and see what works, and I also want to do some “unstructured reviews”, particularly of books where the scale categories may not apply. (For instance, if I was doing a review of an outright science fiction novel, both “Icelands” and “Zombie Sorceresses” would be out of place, the former for not really applying and the latter for being redundant.)

Which brings me to…

Book Review Plans

I’ve been mostly winging it with Fuldapocalypse. I’ve figured that since I want to have fun first and foremost and would probably get sidetracked anyway, I wouldn’t make a rigid “review schedule”. But I’ve become more selective about what I want to review here. If my reaction to it is formulaic, I don’t want to just instantly review the latest blog-suitable book I read.

Thankfully, I have a pile of previously read and accessible books I can use to tide me over until the new releases emerge soon (fingers crossed). There’s a few cheap thrillers, including one by an author I like (you’ll know if/when I review it) upcoming, and there’s also the biggie. The real biggie.

Northern Fury. I’ve been following the Command scenario set for a while, and seeing a novelization of it is amazing. However I personally feel about it (and it’s obviously too early to judge a book that hasn’t been released yet), I wish its creators the absolute best of luck. A weird part of me even wants to deliberately hold back on reading “conventional” WW3 books before Northern Fury H-Hour’s release so that I can be more unbiased.

That’s probably thinking too hard-after all, my mind is heading towards less “Icelandic” books already, and the goal is to have fun here.

I’ve been having a lot of fun with Fuldapocalypse, and hope to have even more fun with it as I experiment and read more and more!

 

Review: Proud Legions

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Proud Legions

Proud Legions is a book featuring another Korean War, the second of two feared “major theater war” locations in the 1991-2001 period. Its author, John Antal, had written several “choose-your-own-COA” ones beforehand and composed extensively for Armor Magazine. That combined with his own tank experience in South Korea made me eager for the book. I instantly thought of comparisons to Tin Soldiers, another armor-veteran composed book that ranks as one of my favorite post-1991 thrillers. How would it stack up?

Icelands

We get the usual supervillain opponents and the usual equalizer gimmicks-in this case, super-EW that scrambles all the high-tech doodads and “S-300s”. The action also hops around between a lot of viewpoint characters, but no worse than other technothrillers.

Rivets

I was reminded a lot of Team Yankee here. Normally this would be a very good thing, as Team Yankee is one of my favorite cheap thrillers of all time. However, this reminded me of one of the weaker parts of Team Yankee. Namely, the “Herman Melville for tanks” part complete with long detailed descriptions of what a tank unit commander would do, followed by a map illustrating the action-to-come in case we missed it.

And while it can get overly detailed in places, it can also get vague and/or inaccurate. For instance, part of its explanation for the lack of air power is the North Koreans having a huge number of “S-300” missile systems, something they have only acquired recently in real life. The problem wasn’t that they got them earlier, it was that they were treated like tactical systems running with the field forces instead of the operational/strategic ones they are.

They come across as being treated like SA-6/11/17 style battlefield SAMs from their description. While not that big a deal, I still noticed it.

Zombie Sorceresses

For most of the book, the zombie sorceresses don’t need to work beyond the usual limits of the genre. Yes, the foes are abnormally belligerent, yes, their scramblers potentially work a little too well. But both of those are easily justifiable for literary reasons.

What I felt was the most contrived part of the book had to do with the protagonists. Antal seemed to be working harder than ever to make the hero and his unit supremely (and probably unrealistically) relevant. This was especially true of the climax, where plotnukes are the least of its problems.

The “Wha?”

The characters and plot are serviceable by cheap thriller standards. I didn’t get much of a feeling out of them, but I wasn’t expecting to. The action on the other hand, is both good and problematic.

The good part is that it’s fast-paced and visceral. There bad parts start with it possibly being a little too gory for its own good. This isn’t to deny that war is brutal and gory, it’s just that I found the contradictions between “gore, grime, and oh this is horrible” and “look at the Abrams go! It made a company of BMPs go boom boom!” a little jarring.

A bigger one is straining to make a battalion of M1A2s more relevant by itself to the conflict as a whole than it probably would be. Team Yankee, however (over?)effective its protagonists were, was not trying to have a single company win World War III on its own. In Tin Soldiers, the “it’s all we got” protagonist force felt at least somewhat more justified in being decisive. So they’re at the main junction to prevent a super-breakthrough.

And-they perform a leadership strike at the end. It’s not “they went all the way up to Pyongyang.” It’s “The marshal of the North Korean army, who’s staged the coup and started the war, has moved south to take personal command of the decisive battle, and they’re there to fight against him.”

What makes this still more problematic is the location. Tin Soldiers was in perfect tank country against a mechanized opponent that had just a bit of effects. This is in more closed terrain against a lesser-equipped enemy. Seeing them deal with constant masses of infantry and artillery in an asymmetric battle would be more interesting than the (realistic, if better-case) scenario in the actual book where they smash up an enemy tank brigade that has far inferior equipment, but then that one battalion wouldn’t be as decisive as Antal clearly wanted it to be.

Having spent four paragraphs criticizing the action, I want to end this section on a more positive note. When there is close-in-infantry action, as opposed to the plot-action or Abrams’ destroying everything, it’s written very well. I especially liked a scene where someone in command of dozens of the most powerful armored vehicles still has to fight with a pistol at one point. It’s actually realistic-one time the colonel commanding a “Thunder Run” into Baghdad in the 2003 Iraq War had to do just that.

The Only Score that Really Matters

I’m being harder on this book than it deserves. It’s still a good read for anyone who wants a tank-exploding cheap thriller. The problem is that my expectations were higher than they probably ought to have been. There was Antal’s pedigree as a nonfiction tank writer, and I think that both it and the effectiveness of other novels by people with similar-but-lesser credentials made me think it’d be better.

It’s still readable, good for a first prose novel, and by the standards of cheap thrillers overall is effective. But it has issues, and those issues aren’t just that Harold Coyle and Michael Farmer left some big shoes to fill.

 

Review: Flight of the Old Dog

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Flight of the Old Dog

Dale Brown has always put the “techno” in “technothriller”, and his first book, Flight of the Old Dog, sets the formula while being very enjoyable.

Icelands

This has the usual technothriller cliches of supervillain Soviets and clunky political wrangling. Where it’s slightly different is Brown’s willingness to take a small leap in terms of supertech and his focus largely on just the titular B-52 and its crew.

Rivets

The rivet-counting and super-detail I knew from Brown’s later work is there and in full bloom. But it doesn’t feel as bad in this installment, because Brown’s experience as a bomber crewman makes the descriptions feel smoother and creating a sense of immediacy.

Zombie Sorceresses

The big zombie sorceress intervention in this book is the technology. The super B-52, space station, and the Soviet superlaser it targets are all the biggest contrivances. There’s also the “have a small ragtag team of _________ to take it on” effect, but that’s handled pretty well.

The “Wha?”

The characters aren’t anything to write home about, but the plot, cliche as it is, is brisk and flows quickly. Flight of the Old Dog remains a good example of how to do a superweapon vs. superweapon story right.

The Only Score That Really Matters

Dale Brown’s first book is, in my opinion, his best. It has the super-aircraft action that’s his trademark, but it also avoids most of the excess that his later novels have. In terms of 80s action technothrillers, his debut remains a rightful classic of the genre.

Review: Line of Control

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I decided to go on a hunt for new thrillers. By chance when looking them up, I found Line of Control by Mainak Dhar, where after coups in Saudi Arabia and Pakistan, they ally to reheat the conflict with India. This was an Indian technothriller. I was intrigued.

Icelands

Dhar has read his classics, and it shows. After a few chapters, the structure is very clear to anyone who’s read Clancy, Bond, or the like. I was reminded more of Larry Bond than anyone else. I think it was because Dhar, unlike more specialized authors, went all the way from infantry to air and naval crews to spies to leaders.

Although I will say this- in one very crucial way, Dhar manages better than Bond. Much better.

Rivets

Of course, with the classic inspiration comes the classic drawback. Sometimes, especially in air-to-air combat, the listing of exact numbers and ranges gets a little too high. It isn’t the absolute worst, and it didn’t take away from my enjoyment of the novel as a whole, but it’s there and it grated a little.

One silver lining is how the setting of the book allows for considerable novelty in terms of equipment without being contrived in the least. The protagonists are using largely Soviet/Russian systems, while the antagonists are using mainly American ones, with F-15s as their secret techno-weapons.

Zombie Sorceresses

I didn’t really feel that much “zombie sorceress” contrivance in the book. It existed, but never truly beyond the norm for the technothriller genre as a whole. When one of the biggest issues apart from the belligerency of the antagonists (which is part and parcel of the whole genre) is “they found enough irregulars to launch a corps-sized conventional attack”, it’s pretty good.

A lot of it I think has to do with the setting. When you have two real-world enemies that are much closer in power as-is, I don’t think you need nearly the amount of contrivances or “equalizers” that occur in a post-1991 technothriller with the US as the protagonist country.

And then there’s dealing with the nuclear weapons. But that’s done in a literary way that made me excuse anything.

The “Wha?”

On one hand, this has the usual thriller tropes. It has lots of viewpoint characters, perhaps a few too many. It has lots of subplots, bouncing around a little too much. The characters are stock thriller ones.

And yet, it never felt like Dhar put a character in without a purpose he intended for them. There may have been a few too many subplots, but there’s just enough characters to fill those plots without being excessive. Furthermore, Dhar handled a very, very difficult issue for technothrillers in an effective way.

Dhar takes the “stop the nukes” plot and makes it the final climax of the book. He doesn’t brush past them with a handwave. And he doesn’t do what Larry Bond did in Cauldron and just remove them with a super-counterforce strike early in the book. There’s the conventional battle and then the fear of escalation. While I could nitpick the plausiblity of how it played out, it worked in literary terms.

The Only Score That Really Matters

I liked this book. It has infodumps, conference room infodumps, a buildup to something you know is going to happen, and other faults of the genre. But it also has the strengths of it, handles some elements very well, and has a setting that’s novel to a filthy Yankee like me.

I recommend it.

Review: Pursuit

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Pursuit

Pursuit is the thirteenth(!) installment in Jerry Ahern’s Survivalist series, the first of which, Total War, I reviewed earlier on this very blog. The Survivalist changed dramatically from start to finish, and Pursuit is representative of this change.

Icelands

Well, on one hand, Pursuit has the series at a crossroads between the pure post-apocalyptic survival it was in the earliest books and the sci-fi action it would become in the latest ones, with the only constant being Rourke shooting lots of people with his beloved Detonics pistols. It has action novel cliches but little else. Certainly a story that starts with the main character piloting a high-tech one-crew “minitank” and ends with a visit to a geothermally fueled paradise colony doesn’t seem like it has much in common with Clancy or Bond…

-But on the other hand, most of it takes place in Iceland. And the Soviets invade Iceland! And it was published one year before Red Storm Rising to boot!

So it’s literally Icelandic. 😛

Rivets

The rivet-counting is reduced to sci-fi infodumps and the usual exact detailed descriptions of firearms anyone who read the series will know as routine by now.

Zombie Sorceresses

Now it gets crazy. Ahern, to achieve his dream of writing backdoor sci-fi with a publisher who wanted modern action adventure, set a massive chain of events in motion. An atmospheric fire-wave would destroy most life on the surface.

Rourke and his family/friends acquired a suspended animation serum and used it after entering his underground “retreat”, leading to a five hundred year time skip. Since then, survivors from other underground shelters (including in the Soviet Union) and from the Western “Eden Project” launched into outer space to return five hundred years later, have repopulated the world, giving Rourke more targets to shoot plot opportunities.

The result was a tech-boost and a supply boost.

The “Wha?”

Now this part isn’t really changed. It’s still ridiculous 80s action, and there’s still some survival there. However, the characters have solidified and so has the series financially. Since by Ahern’s own admission it was a “soap opera”, get ready for cliffhanger endings and long meta-arcs. And soap opera character drama, including things like Rourke’s selective use of the suspended animation process to age his children up to pair them off with fellow adventurers he wasn’t related to (and, conveniently, get them to action hero age), and his wife’s dislike of that.

What has changed, and it’s a gradual change that has progressed ever since Rourke found his way back to the “Retreat”, is that it becomes less and less about actual survival and especially scrounging.

The Only Score That Really Matters

If you’ve made it through the twelve previous books in the Survivalist series, you probably know what to expect. It’s 80s action, and it grows ever more fantastical and less directly post-apocalyptic with each installment.

It’s something, and in this case it was an Icelandic something.

 

 

Review: Apocalypse Dawn

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Apocalypse Dawn

Apocalypse Dawn is a military spin-off of the (in?)famous Left Behind series. It’s also one of the most blatant “this is a tie-in potboiler” books I’ve read. It’s been sitting on my shelf for years and I’m planning on giving it away (along with a lot of other books I don’t intend to take with me when I move) soon. So as it fits the theme, I figured I might as well reread and review it here before I do so.

Icelands

The plot is more “military thriller” than pure “technothriller”. So it’s less Tom Clancy and more well-John Wayne. When viewed from that perspective it and especially its characters are very, very cliche.

Rivets

What’s interesting about the description of military equipment isn’t the rivet-counting. That’s there but mostly mostly tame for someone who’s read a lot of military thrillers, with the only issues being annoying but forgivable things like caliber mistakes (the most common one is using Western calibers for Soviet equipment-like 105mm barrels on T-55s and 20mm ones on MiGs). No, what’s interesting is that it really feels like the work of someone who approached it with a paycheck attitude, took genre cliches, and researched juuuust enough.

There’s descriptions, infodumps about the weapons that clearly show “I read the reference material”, but enough discrepancies that show it’s a sort of “get the technical ingredients without the meal.”

It’s Army Rangers being deployed to take on a mechanized Syrian force that never attacks in any quantity bigger than what could serve as an action-hero set-piece. So M82 rifles and 40mm grenades have an awfully optimistic effect against enemy armored vehicles, you always get only a few tanks, and everything seems to be like a pop culture-friendly weapon (for instance, every single artillery rocket is a “Scud”.) And ASM hits from weapons light enough to be carried on “MiGs” cause Abrams tanks to not only be destroyed, but flip over. And the ranks and command structure are all wrong, etc…

Zombie Sorceresses

There really isn’t much point in arguing “plausibility” when the story explicitly takes place in the Book of Revelation. Or so it would seem. The issue isn’t with the Rapture, it’s with everything else.

The Rangers are in Turkey near the Syrian border doing what a brigade from the 82nd Airborne would normally do (out of pure rushed-in desperation) or what a cavalry force/motorized infantry unit would do (if given any time to prepare).

This sort of reminds me of an annotated version of the Far Side, one of my favorite comic strips. In it Larson explained with some bemusement that after making a comic with mosquitoes, he got letters explaining it was female mosquitoes that bite unlike the husband mosquito in the comic itself. Larson’s response was he knew that, but that they didn’t have a problem with the anthromorphic cartoon parts.

I think that readers can accept big implausible divergences as part of the story setup easily, but small ones get nitpicked. So thus it is with the apocalypse and the Ranger deployment.

The “Wha?”

So there’s two main plots. The first is the conflict in southeastern Turkey (With a lot of hindsight, it feels so weird having Syria as an intact, conventional threat of a state), and the second is the main character’s wife fighting charges (she was trying to keep a kid from falling, he fell off but was raptured before he hit the ground, and they think she kidnapped him even though every single young child in the whole world disappeared.) Pretty much everything with the main character’s wife feels dull and just gets in the way, with very little attempt to even establish a solid connection or link between her plot and the military one.

The military plot is kind of just an array of set pieces that fumble around between infodumps and what looks “cool.” The religious plot is both (obviously) prominent and feels like it was shoved in. They come to a head when the military protagonist is saved at the end through ridiculously obvious divine intervention.

About the only good bit of characterization is Odom’s writing of the main series villain, Antichrist Nicolae Carpathia. (As an aside, I hate that name, it’s like calling someone Saddam Euphrates). That character is written with an appropriate slimy slickness that suits him well, arguably better than in the original books.

The Only Score That Really Matters

This, by itself, is a mediocre tie-in. It avoids the controversy around the actual series simply by being nothing but a phoned-in cash grab to maybe, possibly, broaden the audience just a little bit.

What I think makes it slightly interesting is not how it’s an exercise in writing for a paycheck. There’s absolutely no shame in doing that, and it’s not exactly unique.

It’s how it have a “51%” approach to just checking off all the necessary boxes. Military action with Rangers and infodumped equipment-check. Family drama-check. Christian religious themes-check. Not really much of a need to tie them together or sharpen them as long as they’re there at all. I’ve read other tie-ins, and most of them aren’t as blatantly going through the motions as this. Some of what I’ve read (and even reviewed) has been leaders in a genre. This is a genre follower that deserved the obscurity it got.

 

Review: Executive Orders

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Executive Orders

I’ve never been that much a fan of Tom Clancy, though I admit a lot of my problem comes from a “seen so many imitators that the original doesn’t seem so original” effect. To me, The Hunt for Red October was just OK, and it’s very hard to judge Red Storm Rising because I’ve emerged in a totally different context (but if I had to give a rating, I’d say it’s OK as well).

Executive Orders is not “OK”.

So why did I read it? Genuine curiosity. Not snarky curiosity, but a sincere desire to both see if it was as iffy as I’d heard and see how far the apple fell from the tree. This is a long review, and not just because the book has lots of problems. I figured a big book by a big author deserved a big review.

Icelands

So, take a post-1991 technothriller, with the tropes of crisis overload and limited force. Then take a political thriller. Then take a medical thriller. Then add a second draft of a technothriller. Then shuffle all the notes together and call it a book. It’s several stock thrillers all stuffed into one book.

The tangled plotlines all take a long time to spool up. Sometimes it feels like a filler episode of a shonen anime where Ryan and the antagonist Daryaei spend half an hour yelling at each other and glowing so the manga writer can maintain a head start on the proper chapters.

Rivets

Clancy (and/or whatever ghostwriters assisted him) has to describe everything. When he gets a description wrong, it feels bad. And stuff gets described wrong. Predators, a workman basic drone, are treated like they’re RQ-whatever stealth aircraft that can just fly slowly at 10,000 feet above a heavy mechanized army without a care of being shot down, and tanks specifically designated as T-80s die as easily as early export T-72s did in the Gulf War.

Zombie Sorceresses

Coming on the heels of Debt of Honor’s Japanese-American War, this brings about a United Islamic Republic. So about par for the course in 90s technothrillers concerning the opponents. A lot of other stuff ranges from “implausible” to “very implausible”, but to be honest, my mind was either accepting it as part of a (supposedly) dramatic story or just not wanting to nitpick details that I’d handwave aside anyway when the literary fundamentals were that bad.

But I think the biggest zombie sorceress handwave is the series as a whole. Because it’s gone from Jack Ryan, everyman analyst who fights an evil cook, to Jack Ryan, President Mary Sue of the United States with a clean slate to remake the federal government. Now that’s a zombie sorceress plot.

“The Wha?”

As mentioned in the “Iceland” section, this is a very jumbled book. It’s the story of a new inexperienced president and his family getting the hang of the job and a political rant tract and a bioattack and a “normal” terror attack and a conventional war in the Middle East and a crisis in the Taiwan Strait and the story of rednecks with a bomb. All weaving in and out of focus, diluting what few plotlines could have had some potential. Then when they are resolved, it’s often done very, very quickly and sometimes anticlimactically.

It does get a little more focused at the end of the story, but the tame battle in the desert only served to remind me of how much better Michael Farmer did something similar in Tin Soldiers. There’s one late-war, late-book scene in Tin Soldiers where the American missiles and aircraft maul an Iraqi division but don’t stop it, it’s followed by a scare where enemy Hinds with guided missiles of their own do some damage, and is followed still by a ferocious close-quarters battle where one of the main characters loses his tank.

In a similar scene near the end of Executive Orders, a similar UIR force is just walloped by gee-whiz superweapons and finished off by those good ol’ Americans in an almost nonchalant way.

And then Jack Ryan drops a smart bomb on the UIR leader’s home on live television. The end.

I found only two real plotlines that actually seemed like they could be effective.

  • The bioattack. While the most effective on its own terms, it shimmies around the various plotlines in a way that loses its punch, it’s wrapped up far too neatly once the quarantine is established, and in a way it serves as an excuse for a smaller force to face the UIR invaders in…
  • The conventional conflict in the desert. The pacing and flow does improve significantly once it finally revs up. Except it feels like Clancy put in the minimum effort to create theoretical dramatic tension before going back to the stomp he was comfortable with.

As for the characters, not only are they stock thriller characters, they’re overexposed thanks to the long plot. They’re also the subject of many infodumps that characterize them by telling rather than showing (and which makes the book even longer and less coherent).

The Only Score That Really Matters

Executive Orders doesn’t work. It has the one thing that dooms a cheap thriller more than anything else-bad pacing. There’s the “slowly ramp up to something you know is going to happen” problem made worse by there being several plotlines that get in each others way and stop whatever momentum does develop. When action does happen, it feels second-rate. So I found it as bad as I heard it to be.

On top of that, it just feels exaggerated. A lot of the Ryan-as-president scenes are there simply to allow Clancy to rant about domestic politics. Instead of Iraq or Iran, it’s a union of both, turning individually plausible opponents into an implausible one. The American triumphalism that was always in his books reaches even greater heights. I think my “favorite” example is how Clancy mentions the rightfully successful NTC OPFOR in a way that gives as little credit as possible to the actual Soviet/Russian tactics they’ve trained to imitate.

Clancy was the author at the very top, the king of the technothriller, the writer who stayed at the top of the bestseller lists while other technothriller authors faded or changed genres entirely. If he had become like this, does that mean the imitators would go from mediocre to bad, or from bad to worse?

I actually don’t think so. I believe Clancy to be a victim of his own success. Certainly most of the negative trends I could find before in other thrillers written before Executive Orders’ publication date in 1996. I think he simply was so popular that there was no perceived need to make his work “tighter”, and thus all the flaws compounded each other.

It’s just that the end result of a self-published writer working without strict editors and the superstar author having the editors lighten up on their strictness is mostly the same-a big, aimless tale. Clancy faced the same pressures everyone else in the genre he played no small part in creating did. He also faced the fall of the USSR and maintaining novelty in a large series.

About the only thing I can safely say Executive Orders did was help popularize, even before 9/11, the Middle Eastern Coalition antagonist set, but even with that I don’t want to credit it too much. After all, the 90s scramble for new villains would likely have turned up something similar.

I felt no schadenfreude at this book, and felt legitimately disappointed that I considered it as bad as I’ve heard. It’s sad to see the face of a genre decline so noticeably, but decline he did. Thankfully, there are better post-1991 technothrillers out there.

 

Review: Total War

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Total War

It does not take a PHD in literary theory to guess why interest in postapocalyptic stories rose as the Cold War heated up in the early 1980s. One of the most infamous is Jerry Ahern’s Survivalist series, starring the Detonics miniature 1911 pistol-and the man firing them, John Rourke. Reviewing Total War, the first book in the series, I found it very good for what it is.

Icelands

Ok, I want to take a second to argue that my original category of “Icelands” may be obsolete. I’d envisioned it as applying to a much narrower group of stories than I ended up reviewing on this blog. It was designed for a very short continuum between Hackett’s Third World War and Team Yankee. It was not designed for something like this, a pulp adventure thriller. So I may be doing a revamp of my whole post structure, and if I do, “Icelands” is the most likely category to be changed or revamped.

That being said, Total War is very much an 80s pulpy cheap thriller. Just those words should give you a hint of what to expect.

Rivets

This is one of those “it tells you exactly what kind of gun it is” books, be it a revolver or Detonics pistol. It has a lot of lists (including a description of Rourke’s survivalist lair), a lot of long descriptions of scrounged gizmos. Yet they don’t really get in the way of the fast-paced action.

Zombie Sorceresses

Pretty much what you’d expect from a post-apocalyptic thriller in terms of contrivances. The nuclear blasts are actually handled fairly reasonably, especially given the genre. They’re not the biggest issue. If I had to give one issue that’s the most contrived, it’s how waves of bandits for our hero to fight appear out of nowhere like it was a Bethesda Softworks video game.

The “Wha?”

This flows good for a first installment. We go from Rourke fighting in Pakistan to an infodump about his survivalist lair to the nuclear war, to him and his wife both fighting bandits.

One thing I was impressed by was how even-handed he was by action novel standards. For an American cheap thriller written in 1981, Ahern portrays some of the Soviet characters with surprising deftness and sympathy.

The Only Score That Really Matters

Ok, this is basically a western version of Fist of the North Star, except instead of going “ATATATATATATATATATATATATATATATATATATATATATA omae wa mou shindeiru”, Rourke simply shoots his opponents with his Detonics pistol. If you think that’s tacky, this book isn’t for you. If you like it even a tiny bit, it is.

Furthermore, Ahern is surprisingly good on some of the literary fundamentals. The book is short and moves quickly. The “clunky first setup part” only exists to a small degree here. And while Total War isn’t exactly Peters’ Red Army, its Soviets are considerably less supervillain-y than a lot of other novels in this time period.

Total War is worth a read if you like cheap 80s action.

Why I Liked Them

On By coilerxiiIn Essay2 Comments

Why I Liked Them

So, it’s been difficult for me to explain why I did like something, as opposed to why I didn’t. Hoping to do a very positive review, I found myself diverting towards whole paragraphs of nitpicks. So I’m deciding to take three books I liked-one a well-known classic, two obscure, and list only what they did right. The three books are Ralph Peters’ legendary Red Army, Kevin Miller’s Raven One, and Peter Nealen’s Frozen Conflict.

Besides me liking them a lot, I think they represent a sort of “big-medium-small” continuim. One’s an epic theater-spanning World War III, one’s a medium regional clash with a carrier squadron, and one’s the comparably small tale of a mercenary squad. Thus seeing how each of these stories works in a different subgenre is interesting.

I’ve talked about them before, but figure this challenge would help.

Red Army

Ralph Peters’ classic has many things right, but I view what it’s done the best is a flawed victory. It doesn’t portray every single thing about Soviet doctrine of the time as ideal,  it doesn’t have supertech effortlessly ripping NATO to pieces, and it especially doesn’t have the characters acting like it’s a cakewalk either. On the contrary, most of them die and die horribly. By allowing for vulnerability and failure, it makes the success all the more convincing. The Soviets have to earn their victory, it isn’t handed to them on a silver platter.

I don’t want to call anything my absolute favorite, but as of now, Red Army remains my favorite 198X WWIII story, and one of my favorite high-level, multiple viewpoint thrillers.

Raven One

Raven One, a recent thriller, is excellent at scale, managing to do a lower-end aircraft-centric story very well. It focuses on one squadron of F/A-18s and their pilots battling Iran, and manages to stay very tight. It doesn’t try to turn a regional conflict into a global one.

Furthermore, this leads to something else it does very well-antagonist equalizers. I think that Raven One has one of the best. Whether by accident or design, Kevin Miller created gimmicks-a MiG 1.42 super-fighter and some high-end ECM devices on the Iranian side-that serve to challenge the characters well without feeling too contrived.

The squadron is the centerpiece of the story, and what matters is the ability to challenge the squadron, not the US Navy as a whole. In this Raven One succeeds beautifully, and its pacing doesn’t hurt either.

Of all the post-1991 technothrillers I’ve read, Raven One is one of the best at managing the challenges of that time period well. This is no small feat.

Frozen Conflict

I could really use any of Peter Nealen’s thrillers as my example, but Frozen Conflict, where his mercs romp in the former USSR, is perhaps the most suited for Fuldapocalypse. Besides being well paced, they do several things excellently. These are logistics, tone, and characterization.

In terms of logistics, Nealen takes something generally boring and actually integrates it well into the story. As the ragtag mercs shop or scrounge for their weapons and equipment, it feels like it reinforces the rough and tumble plot rather than interfering with it.

And it also reinforces the tone. The tone is pitch-perfect. It’s gritty and grounded with some over-the-top feats, but it keeps the stakes in their proper element. I particularly liked how a simple BTR-60 in Frozen Conflict with only a 14.5mm heavy machine gun is rightfully portrayed as a devastating threat to the light infantry heroes.

For characterization, it makes me feel for the heroes. In one of the bloodiest books in the series, I felt for them when several characters died, even the one who was written as something of an ass.

Because of this tightness and caring, Nealen’s stories remain some of the best low-level “infantry” thrillers I’ve read.

Conclusion

So there you have my explanations of why I enjoyed several military thrillers as much as I did. This was a very fascinating exercise and I hope to do more of this positive regard in the future. It really helps me a lot with something I’ve long had trouble with.