Review: Olympus Rises

Olympus Rises

After reading a novel dragged down by trivialities like “technical realism”, it was an amazing experience reading one that threw all that aside in favor of crazy action. The first entry in the Code of War Series, Jim Roberts’ Olympus Rises is such a story, dealing with a supervillain sci-fi mercenary army and the modern soldiers who end up fighting it. Like the Black Eagle Force series before it, this is not the most fundamentally sound book. And while this goes without saying, anyone bothered by a lack of plausibility probably won’t like this.

However, that doesn’t matter. This is a very, very fun book and I had a great time reading it. Sometimes you just need jetpacks and mecha-ninjas. The many cliches and references I saw actually enhanced the experience in my views. It’s that kind of book, and that’s the kind I frequently take to reading.

Review: Holy Ground

Holy Ground

As readers of this blog undoubtedly know, I’ve dipped pretty deep into the small field known as [mostly] conventional World War III fiction. So when I saw an actual new release of one, Evan Currie’s Holy Ground, I felt obligated to check it out. The book is a prequel to an extensive science fiction series, and it shows. It centers around the defense of the island of Iwo Jima, on land, sea, and air.

Honestly, the setting image that came to my mind was “Command and Conquer Generals”. Not in the exact form or in it being an exact ripoff of that game-it definitely is not. But in the general (no pun intended) sense of a combination of sci-fi technology and stuff that’s visible in the obvious headlines/popular culture. Despite nominally taking place several decades in the future, there’s a lot of contemporary fighter aircraft designations. There’s also a lot of “cinematic” stuff, like missile-age aircraft using guns far more often than they realistically should.

Because of these limitations, it doesn’t succeed in being a technothriller. At the same time it’s too comparably grounded to be a Wingman-style pulpy thriller. And even judged purely on its own terms, the action isn’t the best. I want to emphasize it’s not the worst either, but I’ve definitely read better. For me it was a little fascinating to see what a technothriller in the style of a popular science fiction book looked like, but that can’t raise the novel above average on its own.

Review: Blood Vortex

Blood Vortex

The newest Mack Bolan, Blood Vortex is the 464th (!) Executioner novel. It’s also the last Executioner book planned, or at least the last Gold Eagle/Harlequin one. Thus this marks the end of an era lasting nearly forty years.

In it, every single terror group gathers in Venezuela for a meeting and Bolan has to stop them. So basically, this is like a serious version of The Naked Gun’s opening. The tonal dissonance here is an issue I’ve noticed in other Gold Eagles. Other cheap thrillers often successfully go for either a grounded or audacious tone, but these tend to have seemingly goofy premises that are countered by a self-serious tone and flat execution.

We get long descriptions of each component of the League of Evil arriving at Venezuela. There’s not just over-description of weapons, but over-description of weapons in a very clunky way. There’s also just as clumsy exposition that reads like Wikipedia excerpts about other things. Another big issue I’ve seen with some of these men’s adventure books (including Gold Eagle Bolans) is that despite their short length, they still contain lots of really obvious padding.

Then there’s the other thing I’ve noticed in these Gold Eagles, which is that the infodumps on anything bigger than a bazooka are frequently not just wrong, but blatantly wrong. For instance, the AIM-120 and Kh-59MK2 (yes, the book uses that exact designation) are considered “equivalents”, dubious when the latter is an air-to-surface missile. And the context in which they appear is a paragraph of pure filler.

But what about the action here? Well, it manages to be adequate-at best. There’s a lot more flow-breaking internal monologues here than in other cheap thrillers, and it never rises that high. And this has the problem of going against a mega-saturated genre.

This isn’t some kind of grand finale and there’s no attempt to make it one. Like a lot of “men’s adventure” novels that stopped, it’s just one installment among others. This is like the last nondescript econobox car rolling off the assembly line, long after the rest of the auto world passed it by. This isn’t a dinosaur, it’s a trilobite, with its genre’s business model being obsoleted twice. A series that became disposable and interchangeable (really, look at all the “mass production” and “assembly line” metaphors I’ve used in past reviews) was bound to conclude in such a way.

Review: Starmageddon

Starmageddon

In 1986’s Starmageddon, Richard Rohmer struck again. By this time, The Hunt For Red October had been out for some time and Red Storm Rising was soon to come. One of my comments about Tom Clancy has been that his success and popularity was more due to being able to tap the trends of the time than any directly superlative writing skill. Well, for Rohmer, that kind of trend-chasing, mixed with inertia, was the sole reason for him being as successful as he was.

I’m reluctant to call anything the “worst ever”. But in terms of the worst World War III book written, Starmageddon is at least up there. Especially in the category of “worst World War III book by a big name author/publisher”. So what is this book?

Basically, take the hot-button issues and events of the day, in this case the KAL007 shootdown, the Strategic Defense Initiative, and trade concerns with Japan and South Korea. It’s okay to wonder what the third has to do with the first two, and that’s because it’s part there to set up the “plot” (which in turn cycles back to just reasons for showing those topics) and more there for just padding.

Shove them into a barely fictionalized form. In Starmageddon’s case, toss it into a lame, low-effort “future” where everything besides one superweapon is still at present-day technology levels. Add in what feels like the outline for a military/technothriller, and tell it completely in the form of conference rooms and scenes so flat they might as well be in conference rooms. Jumble them into an only slightly coherent plot. End on a “cliffhanger”.

This is nothing new for Rohmer, although he has regressed at least a little from the very small “height” of Periscope Red. Combining his writing “quality” with a World War III subject matter (no matter how halfhearted) automatically makes this book one of the worst ever in the small subgenre. This is especially so given the context. By this time, other authors were doing similar themes with far more skill, leaving Rohmer well behind.

Review: Periscope Red

Periscope Red

Richard Rohmer’s Periscope Red is a novel ahead of its time in the worst ways. That its concept of a Soviet covert-to-overt campaign against the world’s oil tankers is interesting makes the flawed execution all the more disappointing. The presence of numerous conference rooms and technical infodumps without any substance or excitement to “balance” them leads to a mismatch. It’s the equivalent of watching a sporting event where quarterbacks throw tons of incomplete passes as rushers stay on the side, basketball players attempt and miss three pointers by the dozens, or where baseball hitters strike out en masse but have absolutely no power when they do make contact.

That the literary fundamentals are slightly improved from Ultimatum and Exxoneration in a way doesn’t help it. It’s still not good by any means, and this quality makes it slightly more generic. Going from “interestingly bad” to “un-interestingly bad” isn’t necessarily a good trade off.

Thus this book is somewhat more realistic than Rohmer’s “invasion of Canada” novels, but lacks their out-there premise. It’s somewhat smoother in its pacing than those, but lacks the weird “appeal” of seeing just how blatant the padding can get. By conventional literary standards, it’s still very, very, bad. The technothriller style would have to wait until better authors than Richard Rohmer came along to achieve mainstream prominence.

Review: Exxoneration

Exxoneration

The American invasion of Canada finally begins in Richard Rohmer’s second book on the subject, Exxoneration. The previous installment, Ultimatum, ended with the US announcing its intention to annex Canada. Here, it moves ahead.

As far as its literary quality goes, I’ll just say this: I’ve read field manuals that were less cumbersome and infodumpy. Seriously. The mega-padding is still there, including such things as aircraft takeoff instructions. And the er, “lopsided” nature of a Canadian/American armed conflict means the book has to twist to have its cake and eat it too.

There’s only one fairly brief semi-battle in the novel itself. In it, the Canadians ambush a flight of American aircraft landing at Toronto who falsely assume the invasion will be unopposed. Basically, the Canadians need to win but there’s obviously no way for them to win conventionally so they have to rely on American public opinion (plausibly) promoting a backlash however the tone of the book is such that it wouldn’t do to have Canada devastated by war, so the only onscreen conflict needs to be short and neat.

Most of the book is just about the later efforts by Canada to purchase Exxon (hence the title). Needless to say, this is not exactly the most scintillating topic. While a better author could have made it exciting, Rohmer does not.

I want to compare this to Mike Lunnon-Wood, who wrote about slightly ridiculous to highly ridiculous scenarios in a matter-of-fact manner, but Lunnon-Wood’s prose is significantly better than Rohmer’s. It takes some effort to make a book about a Canadian-American war dull, but Rohmer does so.

Review: Ultimatum

Ultimatum

Richard Rohmer’s Ultimatum is the story of the U.S. invading Canada as written by a Canadian. More precisely, it is the buildup to the invasion, the haggling, set in the backdrop of the 1970s energy crisis as the embargo-facing US confronts resource-rich Canada. Because of this, the novel takes the form of one conference room scene and exposition drop after another. It’s a book meant to show events, not characters.

It’s also a book that, although fairy short, features ridiculous amounts of padding. Part of this can be justified in that its format is that of “events/setting-first”, but even by those standards, it has a lot of stuff beyond it. There are incredibly long Herman Melville -style infodumps on everything from the nature of the Canadian government to pipelines to transport aircraft. A subplot involving two bomb-planters is about the only time the book leaves the meeting room, and even then it somehow feels like it could be cut without really missing anything.

Although I will say that a plot involving native saboteurs destroying oil infrastructure, helping lead to a large, somewhat contrived war is basically Red Storm Rising more than a decade before the real Red Storm Rising was published. I don’t know if Tom Clancy saw the plot and I think it’s likely just a coincidence, but it’s still an interesting combination. And in some weird ways it’s actually more plausible than Red Storm Rising, given that seizing Canada directly is more straightforward than “invade Europe so we can seize the Middle East later.”

However, the actual war will have to wait for the sequel, Exxoneration. Here, the book simply ends with the declaration to annex Canada. Thus, it’s all setup.

In terms of quality, this is a very dated book, and I’m not just talking about the politics. It’s entirely meant to capture a zeitgeist, giving curious readers a look at the wheeling and dealing towards an event. This was a time period where the US openly studied seizing OPEC-held fields by force, after all. But this type of work, especially one as “matter of fact” as this, has a very short shelf life, and the result is a historical curiosity.

Review: Ward

Ward

The sequel to Spacebattles darling Worm, Ward arrived to much fanfare, to the point where the end of its author’s last web serial was overshadowed by antsy fans waiting for it to start. Now Ward itself has just finished.

When I started reading it, I saw that Wildbow’s literary issues didn’t change. The prose was too flat. The action likewise was too flat. The pacing had only two speeds: “Way too fast” and “Way too slow”. The descriptions are either overdetailed or underdetailed. I’d tried to follow all of his serials after Worm itself when they were written, and ended up just abandoning them.

Reading more of Ward, it has Worm’s problems, if not more. The structural issues mentioned above. The tendency to write into a corner and then ESCALATE out of it. The way the cosmology becomes ridiculous (you don’t include precognition as a power without good reason, much less two super-precogs, and that’s just one problem).

But really, Ward is a tragedy. I don’t mean inside the story itself, although it has plenty of dark moments. I mean that it’s dragged down by two big factors. The first is the legend of Worm bringing up unrealistic expectations (something Wildbow himself mentioned in his retrospective). The second is that its predecessor had just the right amount of factors to make it popular. Lightning was never going to strike twice.

One strange effect was that an improvement in the characterization actually doomed the serial. Worm’s fandom success hinged on Taylor, its protagonist, and her lack of what would normally be considered substance. Someone who was about 30% power fantasy of fighting back against the people who were just UNFAIR TO HER and 70% blank slate camera RPG protagonist created some strange incentives.

If you saw Worm as something that was more of a superhero RPG let’s play than anything else (which it comes across as), then the fanfiction boom made sense. Taylor’s bug power was just one “build” among others, and if the sole part of her character that filtered down was that wish fulfillment, then it’s easy to see why (combined with bandwagon inertia) why it got all the fanfiction it did on one small part of the internet.

So Victoria Dallon may have been an improved character, but the mystique was lost. Ward ended up as feeling to me like the kind of webfiction that, if you’re into it from the start (I wasn’t) you’d follow until it finished and then leave it behind.

 

 

 

Review: Agile Retrieval

Agile Retrieval

agileretrievalcover

The SOBs series (officially Soldiers of Barabbas, but like Doom’s Bio-Force-Gun, the real implication is obvious) was a Gold Eagle men’s adventure series of the 1980s. Peter Nealen has cited it as one of the biggest inspirations for Brannigan’s Blackhearts. Agile Retrieval is the eleventh book in the series but the first that I read. Though series house name “Jack Hild” is on the cover, the real author was Robin Hardy.

Having read the successors first, I was on guard for the “having seen those, the original doesn’t seem so original”. This didn’t manifest in a negative way. In part this was because a lot of the elements that were copied were positive ones. For instance, giving the main characters lives outside of the action (we see the wedding and family troubles of the protagonists in the entire first part) makes them more sympathetic and human, unlike the mobster/terrorist killing robots that make up a lot of action-adventure. And in part because this entry, a chase for Nazi Macguffins in Cold War Germany, is a little unconventional.

It’s not really unconventional in a good way, though. The flaws (in particular, the stock villains) are still there, while being a little less action-y and a little more cloak and dagger takes away from the strengths of the formula. The “big, vulnerable team” subgenre of action adventure is, in my opinion, the style that offers the most, and to pull back from it is giving up a lot and not really gaining anything in return. While the structure of the series has many strong points, the structure of this particular book does not. After the opening, it doesn’t manage a good climax and remains slapdash throughout. The pool of cheap thrillers of past and present is so big and vast that I cannot recommend this except for completionists.

 

Review: USA Vs. Militia Series

USA Vs. Militia Series

Ian Slater’s USA vs. Militia series is one of those bizarre footnotes in military thriller writing that I just had to check out in full. A while ago, I reviewed Battle Front, which is actually the third installment. Having since read all five books, now I can give my opinion on the entire series.

I described Battle Front as “This book is about 5-10% crazy goofy, and about 90-95% dull tedium.” In short, this is applicable to the entire series, particularly the last two books. These involve more pedestrian hunt-the-MacGuffin plots with small unit heroes that serve as a perfect example of “Captain Beefheart Playing Normal Music Syndrome”. The most bizarre part is a general personally leading this formation, and it has all of Slater’s numerous writing weaknesses without the appealing strengths. If it consisted of two books with action somewhat below the Marine Force One line, I’d have barely given them a second thought.

But the series is more than that.

At its best, you have ferocious fights between the federal army and militia in technicals with add on “reactive armor” (Slater is, to put it mildly, not the best with terminology). You have Abrams’ deploying from C-130s. And of course, you have preternaturally well-organized and numerous militia romping through the country. To try and make them viable, Slater turns every federal commander and soldier who isn’t Mary Sue Douglas Freeman into hopeless bumblers. It’s still badly written in actual practice save for some bizarre prose turns Slater uses, but the novelty is still something.

There’s two more distinctive elements. The first is the politics. Now, normally you’d expect a book about a second American civil war to be monstrously political. This, surprisingly isn’t. Or at least it feels oddly detached, coming from an Australian-Canadian having to look across the border through a distorted, second-hand lens.

The second is a complaint I’ve heard a lot about Slater’s World War III series, and which I saw firsthand here-he has absolutely no concept of continuity. There are references to the Third World War, references to the Gulf War, jumping references to real events that happened before the book in question got published, contradictory historical references, and no real sense of overall progression. The series ends on a strange half-conclusion, with the out-of-universe reason for its stoppage obviously clear from its publication date of December 2001.

This series occasionally can be an interesting curiosity, but it’s a mere curiosity without much substance.