Tag: Review

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: 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: Dark Rose

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Dark Rose

I’m used to having technothrillers with dubious backgrounds, especially ones written after the fall of the USSR. But Mike Lunnon-Wood’s Dark Rose, set in Ireland, takes the cake. The zombie sorceresses were strained to their limit here.

Icelands

Well, at least this isn’t formulaic. Sure, this has the general literary pattern, but in terms of variance from the thriller genre, it’s big. This book is also a very good example of why being formulaic isn’t necessarily bad, and why diverting from the formula isn’t necessarily good.

Rivets

The rivet-counting doesn’t really pick up until the action starts, but when it does, it does so very hard. Furthermore, the rivet-counting infodumps are exacerbated by Lunnon-Wood’s writing style, which I’ll get to.

They have the effect of being “look how much I know” telling rather than experienced showing.

Zombie Sorceresses

Oh boy. Palestinian-led Arabs seize control of Ireland, first financially, then militarily. Their goal is to use it as a bargaining chip in the Israel-Palestinian conflict, for the Irish lobby in American politics is extremely strong.

They and their Irish puppet government are countered by having Irish-descended soldiers in armies around the world volunteer for the resistance, led by the newly crowned queen of the restored Irish monarchy. It’s mentioned as being little but a legal trick, but still. This makes Cauldron look like a meticulously researched counterfactual.

This is one of the most “zombie sorceress”-dominated stories I’ve read. There’s a lot of emphasis elsewhere in the book (and in the rest of Lunnon-Wood’s work) of interviewing military personnel, of being detailed and accurate. But it’s all the service of this ridiculous plot.

The “Wha?”

So, this book has two problems independent of the crazy zombie sorceress backstory. The first is its pacing. The book’s “action” doesn’t start until about halfway through, and it only really intensifies about three quarters of the way through.

The second is its prose. Lunnon-Wood’s writing style is this take-your-time, talk-it-out lush slow system. It’s almost as if Hemingway wrote ridiculous cheap thrillers. Because of that, the small-unit actions (when they start) are tricky. They’re detailed, grounded, and sometimes gory,  but the nature of the prose doesn’t make them feel very visceral, for lack of a better word. The characterization suffers from almost the exact same problem. Characters get so many drawn-out conversations that they feel like blurs, and Lunnon-Wood isn’t the best at distinguishing them.

Applying conventional technothriller infodumps to this style makes them worse, and when the “resistance forces” (a giant multinational technicality that includes the USMC) finally do mobilize en masse, it’s a (realistic) never-in-doubt Gulf War-style crush. So despite the slow pace, this book is also kind of too fast as well when push comes to shove.

Also, there’s a lesbian seduction subplot that stops about halfway through the book. I will leave it to the review readers to guess as to whether it’s an important part of the story or just cheap sleaze.

The Only Score That Really Matters

Dark Rose could have been worse. It could have been unreadable in its prose. It’s not. It could have been more axe-grindingly political than it was. It could have been even longer.

As it stands, the actual substance of the book is a little aimless and clunky, but the concept is so completely ridiculous that I feel it’s still worth taking a look at. That it’s not too political makes it more pleasant to read, and you don’t see “grounded” stories with setups this ridiculous every day.

Review: Arc Light

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Arc Light

Arc Light by Eric Harry is a good but uneven World War III tale. Even at its worst, it never dips below the genre median, and at its best it goes in a novel direction that takes a big concern head-on instead of sidestepping it. While this might seem (and is) praiseworthy, it left me wanting the whole story to be more consistently good.

Icelands

Arc Light has two “parts”. One is bold, the other cliche.

The first part is the nuclear war. This, for all my small quibbles, handles the defining weapon of the Cold War excellently. The initial strikes are described in massive detail, and the threat hangs uneasily for the rest of the book. Instead of either handwaving nukes aside altogether or, worse, dropping a few contrived “plotnukes” (Hackett’s Birmingham-Minsk exchange is a picture-pefect example), it launches a big but survivable nuclear “counterforce” strike while keeping the unease of follow-up strikes there.

The second part is a totally conventional military cheap thriller. It’s not outright bad or unreadable, but it has most of the genre tropes there. Multiple viewpoint characters (though, I will say, not too many), and worse, contrived, tinny political scenes that only serve to set up the action that everyone knew was coming anyway.

Rivets

The rivet-counting concerning the nukes is present and annoying. Annoying in the sense that they alternate between well-described horror of nuclear war and clinical, dull infodumps. A lot of the nuclear infodumps have the “I know what the formal name of a Scud TEL is” feeling, where it sounds like the author using the story to demonstrate what he knows instead of using what he knows to help make the story better. But, in an excample of how conflicted this book can be, they’re interspersed with genuinely gripping descriptions.

The rivet-counting concerning everything else is just irritating, especially when large battles and plot-progressing moments are told in nothing but infodumps.

Zombie Sorceresses

While I’m sure the zombie sorceresses were at work with the setup, the important part was that it didn’t feel as contrived as it had been. It has Russia as the opponent and its nuclear exchange dominates the book without being too big.

I’d say the biggest zombie sorceress intervention came in politics and the Americans invading Russia. But even that I forgave, for it was more novel.

The “Wha?”

This kind of wobbles a lot. The low-level soldiers are handled very well. The noncombatants are handled decently, at least in a well-intended way. Anything political turns into either infodumps or Larry Bond-wannabe “they set up what you knew what would happen” scenes.

Arc Light feels like it’s trying to tell a big Red Storm Rising-style story while using a fairly small number of viewpoint characters. The former is acceptable, and the latter to me is laudable. But what this means in practice is that a lot of the story is told in either infodumps or maps. It either needed more characters (which are not necessarily bad if handled well) or a smaller scope.

The Only Score That Really Matters

This takes the eccentricities of 90s techno-thrillers and manages to use them well. But it still could have been more. At times it feels like a gritty genre-amplifier and at times it feels like a routine Larry Bond knockoff.

It’s kind of befuddling. Arc Light will have a gritty infantry battle that has down and dirty bleeding and confusion, and then it will have a classic conference room infodump. It will show something with great skill-and then tell anyway. A giant tank battle is explained in an infodump.

But it still tries to move outside the narrow genre limits and mostly succeeds. In particular, it handles WMDs without them ever feeling like “plotnukes” there to just add a bit of cheap drama. It just could have used a little more focus and a lot less tinny politics.

Review: Chains of Command

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Chains of Command

Dale Brown is one of those authors who managed to remain firmly in a genre even as it declined. Which is to say, as the genre began to decline and other authors like Ralph Peters and Harold Coyle moved to different topics like the American Civil War, Brown and his super-planes just kept going and going and going and going and going and going like a technothriller Energizer Bunny. Somehow enough people bought the books that he kept getting publishing deals for more of them without being a super-big name like Tom Clancy.

He was also out-there from the get go, leaning on the “super-science-fiction” edge of technothrillers from the start of his first book, Flight of the Old Dog, which featured a super bomber against a super-laser. (That book I unreservedly recommend-it’s a fun cheap thriller). This and the melodramatic excess of his later novels has made him who he was.

How does Chains of Command, this Russo-American war novel, stack up?

Icelands

Dale Brown has been there from the start, so it’s no surprise that if you know the type and time period of this thriller, nothing will be surprising. It’s a Dale Brown thriller so you’ll get the Air Force saving everything, lots of nukes flying, and more than a few political rants. It’s a cheap thriller, so you get a cheap thriller plot. It’s post-1991, so the enemy is a regressed Russia.

Rivets

Like a lot of technothriller authors, Brown loves his rivet-counting, with lots of exact designations and detailed descriptions. The biggest problem isn’t so much the infodumps themselves as how they exist in this exaggerated fantasy world of super-planes. It’s like giving a detailed, technically exact description of a car’s engine and mechanics-in a cartoonish video game.

Zombie Sorceresses

Well, there’s the regression of Russia, for one. Then there’s the plot-nukes. Dale Brown loves nuking everything without going full Dr. Strangelove. Then there’s an infodumped past war that should crowd out the real Gulf War but doesn’t. The zombie sorceresses haven’t been the busiest here, but they’ve still had to work.

The “Wha?”

This is a cheap thriller plot, and it wildly zigzags. On one hand, Brown is a former navigator-bombardier in the Air Force, so he can show a feeling of immediacy in the battle scenes. On the other, they’re loaded with infodumps. On one hand, Brown’s plotnukes show he isn’t afraid to have the enemy do real damage. On the other, they make the world seem less real and more contrived.  On one hand, the heroine is an effective character by the standards of the genre. On the other, the action is too spread out…

You get the idea.

The Only Score That Really Matters

Chains of Command is not truly bad, but Brown has definitely written better. While he hadn’t yet sunk to the levels he would later on, this is not his best book, nor is it the best in the genre. It manages to deploy both general technothriller and Brown-specific cliches in bulk without having anything like prose or plot to make up for them.

I’d recommend reading Flight of the Old Dog first and seeing if you like his style before trying Chains of Command. It can work as a time-passing cheap thriller, but even in that easy genre there are better books.

Review: World War III: The Beginning

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World War III: The Beginning

By the early 2000s, while the mainstream technothriller was declining, the self-published one was on the rise. In time this would lead to a very unique paradigm that I definitely wish to explore. But it also got some stinkers, like this. Despite the title, I could find no other books by Fulgham.

This is a submarine book, so it has the perils of submarine fiction. Or at least it would have if it wasn’t so badly written that any genre problems become secondary.

Icelands

The structure of this book is rather cliche and technothriller-y, albeit applied in a very, very sloppy way. What it does is have its cake and eat it too with a “Islamic Republic” that has a giant carrier navy. (The first edition was in 2000, after 9/11 the author tried to claim it was prescient.)

So yes, we get Conference Room Infodumps. Rushed and sloppy conference room infodump.

Rivets

A lot of the technical designations for aircraft and the like are just made up, but where this book shines in rivet-counting is in submarine operation commands. I hope you like reading submarine bridge commands, because it feels like 3/4 of the book consists of them.

Zombie Sorceresses

The antagonists-a Middle Eastern superstate with three times as many aircraft carriers as the US Navy (!), are the perfect zombie sorceress state. Very little else really comes close.

The “Wha”?

Well, the characters are mostly flat, the biggest issue being that they’re always referred to by their first names. The plot is a confused vague mess of technothriller mush and some submarine bridge commands. Oh, and a romance. Mustn’t forget the romance between the female commander and her male XO (who I suspect strongly is an author Mary Sue). Yeah.

The Only Score That Really Matters

As a book itself, this is forgettably bad, one for just the self-published slush pile. But as an example of a certain kind of book, it’s a good early case study. The self-published thriller that lacks both the polish of a mainstream book and the attention to detail of an enthusiast story is one I’ve seen too much of.

So while a mainline technothriller, especially a later one, will have somewhat exaggerated gimmicks (IE, Dale Brown’s “stop the superlaser”), and an enthusiast one will have detailed, at least nominally grounded forces (The 20th Guards Motor Rifle Brigade and 2nd Tank Brigade crossed the border…) , this just goes “unite the Middle East and plop down dozens of aircraft carriers”. In a way it’s actually endearing.

One slightly redeeming quality to Fulgham’s book is that it’s short, unlike the somewhat similar but utterly unreadable Dragon’s Fury by Jeff Head.

I cannot recommend World War III: The Beginning, unless you like submarine steering commands. Then it’s the best book ever.

 

Review: Stand To

On By coilerxiiIn Review2 Comments

Andy Farman’s Armageddon’s Song series starts with Stand-To, published in 2013. It’s-something. It tries to be a post-USSR thriller, but that description does not do it justice. It’s something. I’ll put it that way.

Icelands

The spy-novel intro is out-there, but then it manages to devolve into a sort of meta-WWIII against a Sino-Russian alliance, diverging from formula via pure spectacle and some very bizzare national alignments.

Rivets

Stand To might as well be the rivet capital of the world. It has, especially after the war starts, infodump after infodump after infodump after infodump after infodump after infodump after infodump after infodump after-you get the idea. I’ve seen outright pseudo-historical summaries that have fewer infodumps than this. Far fewer.

Infodumps on everything from artillery trajectories to squad tactics to equipment to chemical suits to chemical paper to radar types to training to repeated rants about how the British military is underfunded and underequipped are tossed clunkily onto the pages.

Zombie Sorceresses

This book opens with a ridiculous spy-novel plot involving femme fatales so tasteless and ridiculous they’d be rejected from an Austin Powers movie, and just incredible sleaze as tasteless as it is ridiculous. Then once the war actually starts, well, it has a Slavic ex-Soviet republic, deeply divided, with parts of it allying with the Russians but the bulk of it siding with the West.

It’s Belarus. That other big former SSR you might have thought was the culprit from the description is barely present, but the Czechs have flipped and are the spearhead of the enemy into Western Europe (so that the opening lines can still be in Germany).

Then there’s plot-nukes that open the war but don’t distract from the chemical-conventional clashes (and infodumps). The zombie sorceresses were very busy here.

The “Wha”?

First, the prose isn’t very good. There’s typos galore, everything is spelled out in amazing detail, and it makes gory deaths seem yawn-inducing. Second, the characters zig-zag from the raunchy spy novel caricatures of the opening to the flat infodumped “there to provide an anchor for the action and nothing else” ones of the proper war. Even when there’s a hint of personal struggle, it’s right back to more infodumps.

Second, the entire story takes a 180 turn from the bad spy novel tone to the infodumpalicious actual war.

The Only Score That Really Matters

And yet I felt amused by this. This is raw, unpolished, unfiltered-something. It earnestly combines infodumpy “boom boom goes the tank” action with sleazy spy novel stuff. It honestly felt a little novel in its excess. This kind of fiction at its worst tends to be either ultra-infodumped and over-researched or slapdash with stuff done for the fun of it. Stand To somehow manages to be both at the same time.

For normal readers, I wouldn’t recommend it. But for someone like me who enjoys such spectacles, it was amazing. It takes a lot of effort to shock me with too many infodumps, but this managed.