New Year Blogging

Happy New Year

Happy New Year. My rough Fuldapocalypse plans are as follows.

  • Northern Fury will hopefully release soon, and I eagerly await the chance to review it thoroughly.
  • My military science fiction collection has grown and I’m in that kind of mood, so expect to see a lot more of that.
  • Finally, I’m looking to review some “classics”-the earlier books that helped create and forge their respective (sub)genres. You’ll know them when you see them.


Getting this blog going was one of my favorite things of 2018, so here’s to 2019 in Fuldapocalypse!

The New Scale

So, here’s the new formal scale. The older one was a little too restrictive.

Who and What

This is the new introduction part, replacing both Icelands and “The Wha?'”. First it gives me a chance to summarize the plot, and I can point out if it’s cliche or not, formulaic or not. Second, I can say the exact subgenre it belongs. Third, I can talk about the characters and flow.


This is a joking reference to the game Undertale, where going to a bizarre town of dog-cat-rabbit thingies leads to the talk of a “Deep history” that is never explained or elaborated on further, save for one picture.

So, what information included in the book is actually relevant to it? It replaces “Rivets” in that it (hopefully) doesn’t just say that infodumps exist, but how smoothly they’re integrated into it.

Zombie Sorceresses

Unchanged. They’re still keeping the nukes from detonating and setting up weird situations post-1991.

Tank Booms

How good is the action (if there is any) or the conflict? I figured this deserved its own category, since cheap thrillers need good action to succeed and any story needs conflict.

The Only Score That Really Matters

Unchanged. This is the only score that really matters.



Fuldapocalypse Blog Plans

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!


Why I Liked Them

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.


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.