The Justis Fearsson trilogy is yet another great example of David B. Coe’s imaginative fantasy worlds and character-driven stories.
Faraway Faltyr and the Finders Keepers are officially back. With two astounding Cycle of Ages novels under his belt, the fantasy author with an edge, Jeremy Hicks, is back at the helm of his series with its third installment, Delve Deep. While Finders Keepers and Sands of Sorrow challenged the boundaries of fantasy and genre-blending, they were no strangers to clunkyness at times. In addition, the goals of the Finders Keepers and the lore of Faltyr never felt fully complete, like something was still out of reach. While the ambitious Delve Deep continues to exhibit some of these staple issues of the series, it manages to make massive strides in improving upon its predecessors. Not only has Faltyr and its lands and peoples come full circle, but the characters we know and love officially have something to fight for in what is now a truly masterful fantasy series.
Delve Deep picks up some time after Sands of Sorrow left off, and it shows because readers have a bit of catching up to do, especially if they haven’t read some additionally published Cycle of Ages short stories. Yes, before Delve Deep, Hicks wrote a number of short stories in Farawy Faltyr which are alluded to quite often in this novel. Unfortunately for me, I hadn’t read those stories before picking up this one. Granted, reading them isn’t necessary to enjoy this book, but the number of times they are referenced is jarring. Mention of short stories aside, we meet Finders Keepers in the city of Frasmauth, in hiding from their last skirmish in Sands of Sorrow. When it’s discovered that their lives are threatened by the forces of Oparre, Dor conveniently discovers that his master has determined a way to win the dreaded Blood War and ensure a peaceful end to the current Cycle of Ages. In case the simple runaway plot of Sands of Sorrow didn’t have high enough stakes for you, what the characters attempt to accomplish in this installment certainly will. In order for Finders Keepers to reclaim Dor’s lost items from the last book and end the Blood War, they must travel to Delve Deep, a city which may or may not exist. According to Yax, Delve Deep will enable them to essentially fast-travel to the sacred Spire, key to winning the War, as well as increase their numbers. Taking a dive in the dark, the Finders Keepers set out on yet another journey, this time beneath Faltyr to the Underworld.
The plot is a mouthful, and the book’s length can be daunting. It is easily bigger than the first two books combined, but Hicks thankfully devotes the first fourth of the novel to reintroduce the story in a small setting. This is key because Delve Deep increases the scale of the series, profoundly bigger than what was established in the first two novels. The book’s opening gives the reader time to re-acclimate to the characters, what they’re up to, and their goals and aspirations. Most of the opening scenes are just the Finders Keepers sitting around and talking, or talking while fighting each other. The chemistry they share is great, and it’s especially crucial for establishing the main trio, now a quartet, consisting of Dor, Yax, Bruexias’ daughter Tameri, and the Elven Queen, Shy’elle. Granted, a lot changed in Sands of Sorrow to the look and feel of Finder’s Keepers, so it was refreshing to see them in the simplicity of Frasmauth. The town is used as a platform introduce the conflict, to which the grand main adventure takes off.
The second quarter of Delve Deep unfortunately feels very side-quest-y. The Finders Keepers have not only acquired a massive roster of characters since the second novel, but they have even more characters to recruit in order to accomplish certain tasks. Entire chapters are devoted to finding this-or-that person so they can find this-or-that thing. It moves at a sluggish pace for the middle of the first act, and doesn’t spur any excitement until the characters are finally looking for the device which is central to accomplishing their goal. Thankfully, once they are finally determining how to acquire said item, the story becomes more high-stakes. It is this portion of the novel which lends itself to some innovative action scenes, and even expounds upon Faltyr’s lore and technology down to individual cultures.
It is here when Delve Deep exposes one of its greatest issues: too many characters. Much like the beginning of Sands of Sorrow, Finders Keepers increases its numbers exponentially, unfortunately just to kill off a multitude of them before the story is halfway through. Granted, a large roster is needed in order to accomplish certain tasks, but there is little emotional weight due to the Walking Dead style of mass execution. Unfortunately, some of the characters the main ensemble goes out of their way to find have very little presence or weight in the long run, and some are quickly killed off. Certain romances and connections are made which didn’t exist prior to this novel, and they are easily the most forgettable parts of the story, acting as nothing more than unnecessary drama or filler to be mediated later.
Thankfully, many of the disposable characters are surrounded or led by the main quartet, which at least keeps things interesting. There is also a handful of side characters who serve important roles in the story, as well as balance some of the clutter. The book continues to introduce more characters in the latter half of the book, but they are in fewer numbers and carry much more emotional weight. I just can’t see why the same can’t be said for those introduced in the former half.
But for as many disposable characters as the book contains, the main quartet never fail to impress. The circumstances they’ve been through and their familial connections give them a chemistry like no other. For such a small group, their diversity is a prime testament of a team of differing individuals who can learn to work together. It’s at this point when readers know that the main characters are the backbone of this series. The ways in which they are tested throughout the novel and their ability to still love each other at the end shows just how well developed they are. What makes this group so unique is that the individuals who make up the whole are by no means orderly, run-of-the-mill fighters. It is mentioned throughout the novel that they are mercenaries, not a trained army, and this one word dominates among the group. They have no formal experience, but lots of different abilities and skills. They’re simply trying to make a broken system work, and while they fail along the way, they eventually learn to get it done. That’s called drama and conflict, and that makes great storytelling.
Sir Fredrick and the Protectorate Mage, Marduk, from Sands of Sorrow return in Delve Deep, establishing themselves as the main villains of the series. While they are just as loveable a duo as in the last book, they never encounter the Finders Keepers. The reader keeps expecting them to eventually catch up to and fight the Finders Keepers like last time, but they never make contact. Unfortunately, their arc in this installment is almost completely unrelated to the heroes, and mostly serves to expose their plans to the reader and set up future novels. They also appear less and less towards the story’s second half, and their absence may leave some wanting. Nevertheless, both of them (and especially Fredrick) eat up every scene they’re in.
Keeping momentum of this suspense is another aspect Delve Deep masters. When the main characters establish their plan in the beginning, the reader naturally expects that they will see their goal to the end, climaxing in an epic battle with the villains. But despite the immense length, Delve Deep keeps the reader on edge and occupied for its near-400 pages, not even realizing that the goal is only halfway accomplished. This is a great way to write a book, and leaves much to be expected from future stories.
Delve Deep is as inventive as ever with its use of the Aether, the magical force of COA. The Aether continues to evolve in this installment as we learn of its capabilities and the abilities it can enable its bearer. The action descriptions of these abilities are also top notch. It’s satisfying to hear Yax use his wand to take out a gruesome ghoul with a hot streak of light. Hicks really pushed the limit with action scenes this time around. Shock factor also feels most earned in Delve Deep. Hicks is no stranger to pulling massive explosions or gargantuan dragons out of nowhere on the reader, but here, most of the shock factor is built up, or is used in ways the reader isn’t expecting. The weaving of these action scenes as well as the emotions around them is also top-notch. Part of what makes the build-up and climaxes earned is the circumstances surrounding them and the characters.
While the Aether’s power is expound upon in many ways which feel appropriate in Delve Deep, there are other instances which caught me completely off guard. One of the key elements of Faltyr is that most any technology is powered by the Aether. Most introductions of new technologies in this installment were done at a steady pace which made them feel appropriate to the world, or at least allowed me to adjust to them. After all, the lore and technologies we’ve been exposed to thus far in Faltyr feel like that of a typical fantasy world. But there were many instances in Delve Deep in which a technology was introduced which felt ripped straight out of real life. It took some time for me to grasp how such a familiar technology fit into a fantasy world, or at least the rules it had previously established.
And that’s one of the more jarring aspects of Delve Deep: many times it seems to have trouble separating fantasy from reality. Like I said, a lot of technology feels like technology familiar to a modern reader. Now, there’s nothing wrong with expanding the lore of a world or universe, but then there is expanding a lore straight out of left field. That, or I simply need to remind myself of the limits and rules of Faltyr and all that the Aether is capable of producing. But while the technology is one thing, dialogue and character mannerisms are another. There are a lot of dialogue and exchanges in Delve Deep which feel blatantly modern. Don’t get me wrong, there has always been some use of modern humor and wordplay in COA; the Finders Keepers are rag-tag, dirty people and are no strangers to banter. But there are some uses of it here which just feel downright inappropriate, even in a more civil sense. When one character is introduced early in the novel, much of her internal monologues and thoughts revolve around a book she has recently published. There’s nothing wrong with that, but the exchanges sound like a meeting between an author and a publishing house executive in New York City. It’s completely out of nowhere and sounds more like a conversation I would have with published authors in real life, and moments like these recur numerous times throughout the book. Granted, none of these moments ruined the novel for me, but at times they pulled me out. It’s certainly jarring when one is reading along in an age-old fantasy world and suddenly the characters discuss something like sports terms used in modern-day. While this is mostly a nitpick, the occasional hiccup in tone occurred just a little more than occasionally in this one.
Despite some minor flaws here and there, Delve Deep is still a fantastic book. When it reaches the location of its title, the payoff doesn’t fail to impress. In addition, the task Dor was originally ordained with is far from complete. The Blood War has yet to be won, and Finders Keepers merely found themselves in (one of many) a skirmish blocking their path, if not a truly epic one. It shows that this world is pitted against them, and it is never going to be in the favor of their likes. It’s a satisfying conclusion to a story which leaves much to be anticipated in the next installment. But for now, I can faithfully say Delve Deep is the best of the series.
With three novels under his belt, Hicks has quite the franchise going. I’m now eager to read those additional short stories, as he now has his own “expanded universe” going for the series. If anything, it looks that Cycle of Ages has quite the potential for an expanded universe beyond the page. For now, I simply can’t wait to see what the series has to offer next; I just might go back and read the first two novels again. In the meantime, I can’t recommend these books to you enough. Check them out, they are truly worth your time.
-David Brashier; Huntsville, Alabama; January 2018
You can purchase Delve Deep from Amazon here.
You can find other Cycle of Ages stories here.
This past spring I attended JordanCon, ready to refill my to-read book stack. As I met up with author friends and was introduced to new ones, I found myself spending nearly $200 on books. I had saved up for the con, so I had no shame. Since JordanCon is a sci-fi/fantasy convention, naturally, I walked away with a massive stack of the genre to occupy my reading for late spring/summer. In addition, I went on to purchased a number of other sci-fi/fantasy books outside the con, which included Stephen King’s IT, and the Star Wars Thrawn Trilogy. Little did I realize how reading so much of one genre would leave me literarily deprived.
Upon completing a handful of my books from JordanCon, I was feeling great about my purchases. Not only were they a good refresher from the emotionally heady texts I had to read for AP Literature, but the particular books I read were smart, inventive, and gripping. Once summer vacation began, I started reading IT purely out of anticipation for the film which would release in September. The first thing I discovered about IT was how slow it was, and its length; it’s an extremely long book. I express a number of complaints about IT in another piece I wrote over the summer, so I’ll spare you my whining. I forced myself to gruel through 50 pages a day, which took about two hours to complete, and even at that rate it was a full month before I finished the book. I was fatigued by the time I finally completed it, and (funny story) I have yet to even see the film since it has released
After I completed IT, I was more than looking forward to reading some much shorter sci-fi books, which I began around the end of June. I got to a point where I was averaging one book a day. I still had a massive stack of books to get through, and college was a little over a month away. This was my problem: all the books were science fiction or fantasy, so I quickly became bored with them. Each book I picked up felt all too similar to the others, bringing little to nothing new to the table. I struggled to write good reviews for the books, and I feel some of my reviews were a little too scathing. I knew I had to finish the stack before college, but I had no desire to even pick them up. I would make myself sick grueling through page after page, and reading soon became a chore than a refreshing hobby. I found that there was so little diversity in what I was reading, as well as a shear lack of literary merit, sci-fi and fantasy was no longer fun, and just felt like junk-food.
Let’s get one thing clear: there is nothing wrong with reading science fiction and fantasy. I don’t actually believe the genre is junk food, as some would argue. But for my situation, I simply burned myself out. I know plenty of people who only read sci-fi and fantasy who don’t experience this "reader’s block", as some call it. But I’m a versatile reader and writer. I enjoy writing sci-fi/fantasy and other genre fiction, but I also experiment with pure fiction. My writing is most passionate in essays like this one, and I’ve dipped my toes into poetry since coming to college. I also love reading all different kinds of books, from genre fiction to pure fiction, histories, celebrity auto-biographies, self-help; you name it. I love reading and learning new and diverse things, and this was the root of my problem.
There comes a point when I read too much sci-fi and need to shake things up. Rather than attempting to tackle a massive stack of sci-fi/fantasy books all at once, my to-read list must include varied types of literature. But for me, reader’s block doesn’t only apply to sci-fi/fantasy. Since starting college, most of the texts I’ve been required to read are highly philosophical in nature, or lean toward the pure fiction side of literature. I’m now starting to experience reader’s block in that genre, so to counteract the block, my next leisure book will likely be a more simple, sci-fi/ fantasy novel.
Science fiction and fantasy make for great books; they are among my favorites. But for me personally, reading stays fresh by reading a variety of different subjects. Reading is the best way I retain information, and I’m someone who loves to learn different things, as well as gain literary merit. Now, just because genre fictions doesn’t contain "literary merit" doesn’t mean one can’t reap benefits or lessons from it. Readers simply have to experience different genres for themselves and find their niche. It all starts with turning the first page.
-David Brashier; Boone, North Carolina; October 2017
D.B. Jackson lands yet another marvelous historical fantasy in Thieve’s Quarry, the second installment of his Thieftaker series. Thieftaker is among the greatest historical fiction series out there, let alone historical fantasy. A story in a genre blend which is easily campy, leeching off of the mere presence of prominent historical figures, manages to not only tell its own story, but reverently live and breath its chosen setting. The dialogue and writing style of the Thieftaker books feel like they were pulled straight from revolutionary-era manuscripts, while also retaining readability. Like much of Jackson’s work, it’s a fantasy which manages to rise above the rest.
Thieve’s Quarry opens with Ethan Kaille on a standard hunt for a stolen good. When his mission is intercepted by Sephira Pryce, a grim series of events force him to use magic in order to save an innocent man. This reveals his conjuring abilities to Pryce, causing her to hire her own conjurer to combat Kaille. When a mass grave is discovered on one of His Majesty’s ships at the dawn of the British occupation of Boston, Ethan is consulted to determine who committed the murder, as there are no physical signs of death among the bodies. As Ethan tracks down suspect conjurers, each culprit is murdered one by one before he can even reach them. Convinced that the killer is a greater threat than he anticipated, Kaille keeps his friends close and his enemies closer, going so far as to warn Sephira Pryce for her own safety.
Quarry’s greatest feat is the development of Ethan Kaille. He shows a genuine concern for his arch nemesis, Pryce, and even works in junction with her to take down a more dangerous threat. It makes him the better man in what is otherwise a bickering conflict. Kaille also struggles with his convictions on the subject of the British occupation. In Theiftaker he was a loyalist, disgusted by the Sons of Liberty and their antics. Here, when the British enter Boston, Kaille sees nothing but injustice all around him as regulars quarter themselves in peoples’ homes. These changes in his motivations will likely lead to further character development in future books, and possibly turning him into a brash revolutionary.
Many old faces from Thieftaker return in Quarry, but with just enough face time to make way for plenty of new ones. Kaille seeks help from a variety of individuals from high-on-the-hog aristocrats, to bottom-feeding bar owners, to revolutionaries and crooks alike. Their presence breathes life into Jackson’s Boston, making the world all the more believable. Just as in Thieftaker, Boston feels like a place the reader can step into. Jackson’s understanding of the landscape of the town in its pre-revolution glory is on full display, as well as his knowledge of colonial customs. It creates a story whose characters are just as enjoyable to read about as its own world, not growing too detailed or monotonous.
The series once again manages to hold its own in Quarry, despite its setting being among the most popular periods of history. Quarry could have so easily taken advantage of the plethora of historical figures involved with the Sons of Liberty, yet takes a more reserved approach by only making use minor figures and events. It proves that it can tell its story with its plot, characters, and spirit of its setting, rather than copping-out for the reputation of the Washingtons and Franklins of the time. I’m sure as the series nears the revolution, more familiar faces will begin to appear. But two books in a row with such minimal use of major historical figures proves that the series means business.
Where Thieve’s Quarry ultimately shines and manages to surpass its predecessor is in its pacing. As great as Theiftaker was, it was a bit sluggish in the manner it handled its mystery, at least compared to its sequel. There is no wild goose chase to be had in Quarry, as Ethan Kaille makes a relentless chase for justice and for his own life. New developments lie around every corner, as Kaille races against the clock to take out a killer before even more innocent are murdered, and even his own friends. It is between this and the development of its characters that makes Thieve’s Quarry a great sequel, not simply a rehash of the first book or a "Season 2" of the series.
As someone who has read a decent amount of fantasy, the Theiftaker series is among the most quality. D.B. Jackson is a truly talented writer. Theiftaker is a premise which should be silly as all get out, but the amount of history and fantasy it offers and the ethos in which the series is written gives me confidence to recommend it to both historians and fantasy fans alike. Yet its appeal reaches beyond those two groups, which is why I can’t help but recommend the series to anyone looking for some quality reads.
You can purchase Thieve’s Quarry from Amazon here.
-David Brashier; Huntsville, Alabama; July 2017
We are back to sci-fi with this review. As much sci-fi as I’ve been reading lately, I was afraid I’d be moaning "Here we go again" with these books. I was glad to be proven completely wrong. Word on the street is that Amy Duboff is on the rise to a high spot on the sci-fi literature totem pole. The first two installments of her currently seven-part series, Cadicle, are proof of this claim. In two extremely short books, Duboff establishes a wildly original story with a scale spanning lightyears and generations which instantly earns the status of 'saga'.
The first book, Architects of Destiny, had me hooked from the first page, and not because of what the bare story had to offer. The book’s greatest feat is that it is 100% character-driven. With this, good character interactions through dialogue and emotion are deeply important, and Duboff understands this perfectly. Through what is basically a mock-lightsaber fight in the opening scene, the interactions between the hero and his trainer present believable characters with believable relationships which echo throughout the rest of the novel.
In case the fact that the book is character driven doesn’t immediately force me to recommend this book, the story itself is well orchestrated. Its initial premise is familiar. Cris Sietinen wants something more out of life, so he escapes to the stars, joins a smuggling crew, and tours the galaxy. In many ways, it is Luke Skywalker’s ambitions with a new coat of paint. If the characters and their interactions weren’t as good, I probably would have lost interest. Yet in time, the story fledges out to something much greater.
We learn that Cris is heir to a wealthy dynasty obsessed with upholding its lineage, and willing to resort to any means of doing so. Cris also has a telekinetic ability which is virtually outlawed, and he is recruited by the only organization which will train him with his gift. Excitement takes a back seat as Cris trains in his telekinetic abilities, while behind the scenes his life is being secretly controlled. Turns out he plays a much larger role in the fate of the universe, a fate which involves a secret war against an alien race. It also turns out that he might not be the solution to the conflict, but someone further in his own bloodline.
Architects of Destiny is very much a prequel. It is very short, only about 150 pages, and I managed to read it in a day. But what I got out of such a short read was truly remarkable. It is difficult to put to words how Duboff manages to establish such high stakes and such a massive universe in just one book with a story that isn’t world-driven.
Veil of Reality, to my wondrous surprise, begins roughly twenty years after Architects of Destiny. Cris now fathers a son, Wil, who shows even greater achievement in telekinetic ability. Wil is kidnapped, and Cris flies to unknown reaches of space to find him. His pursuit leads him to discover the war which he was never meant to know about, and further, the role he plays in it. Cris learns that his entire existence has been engineered for generations, and that his own son is the savior to end the war, essentially wiping out an entire race.
Veil of Reality spends a lot of time grinding through the technicals of the story. This allows for time to see Cris and his son react to their orchestrated destiny. Wil’s youthful whims of tackling a massive undertaking make him naive, despite his giftedness. Cris comes to grips with the fact that he has to take a back seat in this plot, while also being tortured by the notion that the reason for his family’s existence is a lie.
The supposed villains are given highly relatable arcs in Veil of Reality. The government officials residing over Cris hate to break the bad news to him, yet are steadfast in their goal. They know the consequences and the pure evil of their actions, yet are committed to a cause for the sake of humanity. It’s a believable position. The alien villain in the war is also willing to find a compromise with the humans, to which many of his subordinates passionately disagree. It makes for a lot of conflict, and thus, a lot of drama.
The first books in the Cadicle series hit the mark in many aspects. I’ve already gushed over characters, but the story is also handled well. The more original take on the planet-bound youth who desires something more is a smart move. The simple fact that there is such a massive time gap between the two books allows for major shifts in character since they have changed over years. This keeps things interesting so that the original ensemble isn’t simply presented with a new conflict out of the blue.
Though Cadicle is a character-driven saga, it isn’t a one-size-fits-all story. This is one instance where a series truly needed to be a massive sci-fi epic, and thus earns the title of 'space opera'. The scale and stakes of the story can only be fathomed in a massive world which spans galaxies. Yet despite such a massive world, like I mentioned earlier, the books aren’t world-driven. Cadicle could have easily relied on sci-fi tropes like space battles, blaster shoot-outs, or other material staples of the genre to be an enjoyable story. The series instead uses these tropes sparingly in order for the reader to appreciate such moments more. It reminds me of use of lightsabers in the original Star Wars trilogy. As much as lightsabers are a staple of Star Wars, they weren’t used that much in the original trilogy. Presence of a lightsaber typically implied a special moment, one which could be appreciated and not overused. Cadicle uses its exciting action scenes sparingly in order for the reader to appreciate them more. It instead relies on its characters and story to keep the momentum going. On the flip side, it isn’t a story completely driven by discussion of politics which become boring or impossible to understand. It’s a rare instance which manages to find the right balance of both the physical and emotional side of a story which blends so well together that makes for a great narrative.
Duboff already has a great series going with just two books. She has crafted a saga with Cadicle which is littered with potential for prequels and obviously sequels, as there are five more books in the series. It’s an expansive universe with a surprisingly "down-to-earth" story. Rather than relying on the tangibles of its genre, it uses the scope of its own world to its full advantage for the sake of the narrative. It’s the makings of a timeless sci-fi series which is sure to rise above the rest.
You can purchase Architects of Destiny from Amazon here.
You can purchase Veil of Reality from Amazon here.
-David Brashier; Huntsville, Alabama; July 2017
What is the typical go-to means of describing a good sequel? You guessed it! Simply refer to it as "the 'Empire Strikes Back' of the series". I would say the same for The Scholar, The Sphinx, and The Fang of Fenrir, but I’d like to draw an analogy from another ’80’s film series: Back To The Future. Back To The Future is its own self contained story which hints at a continuation. Back To The Future Part II functions on its own as a sequel, but the ending drives on the fact that the over-arching story of Back To The Future needs to be concluded in a third installment. This is very much the backbone to the plot of the second novel of the Scholar and Sphinx series, even though the device somewhat works against it.
Fang of Fenrir begins eighteen months after Shades of Nyx. David Sandoval is happily married living in Paris, and business is well. When a creature arrives on David’s doorstep which inflicts him with accelerated aging, David instantly knows something is up involving the Curtain. He is sent on a journey to find a means of curing his aging, only to discover that a dark creature is after him and something he owns. David is accompanied by a new ally, a witch named Baba Yaga, who begrudgingly agrees to assist him on his quest. With Baba's help, David scrambles up his former allies from the Curtain in order to discover the beast that’s after him and how to defeat it, all while being pursued by some familiar faces.
Anyone who gushed over the whimsical and nonsensical fantasy world Cook presented in Shades of Nyx will love it all the same, if not more, here. After such a zany first installment with off-the-rails logic, I had no idea how such a world could be more imaginable, but it still manages to deliver through awe inspiring mythology and magic. The mythological elements in particular work to Fang of Fenrir’s advantage. So much of the world and characters rest on a diverse range of humanity’s mythologies which seamlessly blend in a world where Thor may as well sun-bathe with Ra.
The world of Scholar and Sphinx is also much darker this time. With more threatening villains poised against the characters, the darker tone feels appropriate. The first novel played it safe for the most part, and while the second is still clean and appropriate for children, it does deal with some darker, sometimes gorier themes. It’s still nothing younger readers won’t grow used to after reading the first book.
The introduction of Baba Yaga was much needed, as she is an all-around lovable character. Her magical abilities feel appropriate to assist the characters when necessary. She is with David for a majority of the plot and her presence brings something new to the story. They have great chemistry together, almost better than David and Acacia in the first book, and they both console each other in their weaknesses and struggles.
The reason I feel so strongly for Baba’s character is because, aside from our hero, David, the returning ensemble from Shades of Nyx doesn’t bring much of anything new to the table. A. R. Cook’s ability to express genuine emotion and bonds between the characters is still present, no doubt. But the relationships between the returning characters don’t really evolve. This is especially jarring, given how well David and Acacia’s relationship was handled in the first book. I was without a doubt excited to see so many faces return, but most of them are the same people they were at the end of Shades of Nyx. After so much outstanding character and relational development seen in the first book, there was much to be desired from the sequel.
Where Fang of Fenrir ultimately falls flat is in its plot. This book, for it's length, needed to be more jam-packed with some excitement. I get the feeling that this and the third book should be one long arc, but are instead split into two shorter parts. The story opens strong, and the entire first act is very well orchestrated. The darker tone is on full display, and readers get a sense of the stakes threatening the characters. The second acts becomes sluggish after its opening, and mostly involves characters going to various parts of the world to find items with little to no action. With that, the climax, though well handled and grand in scale, doesn't feel earned.
The goals of the villains are also extremely confusing. Not only is there a new villain, but a villain from the first book returns, and a reincarnation of another villain from the first book appears as well. It's a great match-up, and all of them essentially have the same goal of defeating the hero characters, but they also seek control of the world in their own ways. It’s unclear who is manipulating who to achieve the other’s goals, and which of them has more power over the others. It not only creates a disconnect between the reader and the villains, but it gives the hero characters too much busy-work and exposition in order to defeat them which is why the second act can be so slow. I have no doubt that the villains will come full circle in the third novel, but there could have been some more clarity in this one.
Don’t get me wrong, though I have my gripes with the plot and character development, Fang of Fenrir is far from a bad book. Much of what was good about Shades of Nyx is still there, and there is plenty of it to be enjoyed. The cliffhanger at the end has me curious and excited as to how the series will conclude. Perhaps I simply need to finish the series to appreciate the overall arc. But with a slow second act, minimal character development, and some confusing villain goals, it leaves much to be desired after such a strong predecessor.
You can purchase The Scholar, The Sphinx, and the Fang of Fenrir from Amazon here.
-David Brashier; Huntsville, Alabama; July 2017
Not that I’m writing a serial here, but, the last couple of book reviews I have posted discussed what can make and break sci-fi and fantasy novels. I’ve pointed out similarities among books of the genre, how they can get too complex, sometimes require experience from a reader, or completely rip at the seams of what they try to create. The reason people enjoy fantasy novels is because they are written in universes which readers can immerse themselves in and escape reality; to create that which cannot be created, or see that which cannot be seen. Rarely, and I mean rarely, does a fantasy novel simply say "Shut up. It’s friggin’ fantasy. We can do whatever we want and have all the fun we want." The Scholar, The Sphinx, And The Shades of Nyx by A. R. Cook understands this statement perfectly.
Scholar and Sphinx (as I will refer to it throughout the review), is one of the most enjoyable experiences I’ve had with a fantasy novel, period. It’s a story which throws reality out the door and fully embraces the fact that fiction can do whatever it wants. Though it introduces some of the most bizarre concepts and imagery, it is grounded and can be grasped by a reader of any experience. Despite its zaniness, it isn’t a tripped-out story which only few will enjoy. It’s like it takes place in the mind of a child; it’s bizarre, yet it is passable because we understand how bizarre a child’s mind is.
Scholar and Sphinx follows a teenage boy named David Sandoval who desires to work as an architect in France. On a journey to an internship, he encounters a traveling band of gypsies who, through a misunderstanding, take him captive. It is here when David discovers that the gypsies have something to hide; their leader is a sphinx from a mystical world known as the Curtain. David accompanies the gypsies into the Curtain where he discovers that the Sphinx (whom he names Acacia) has a secret weakness to her which could risk the balance of the Curtain, her family of gypsies, and everyone she loves. With his newfound, yet skeptic care for Acacia, David vows to find a means of curing her, on what will be the trippiest road trip of his life.
The fact of the matter is that Scholar and Sphinx isn’t a "love letter" to fantasy. It doesn’t borrow elements from the likes of Tolkien, Lewis, and Jordan, or every other fantasy writer who came before, though it is no stranger to dragons and the like. Rather, it tells its own story by embracing the fact that fantasy can do whatever it pleases, and doesn’t back down. The Curtain is a truly undefined realm which can aid or curse its inhabitants at any given moment. Humans can be like animals and vice-versa. There is no definition to the way things are because there doesn’t have to be. Yet, despite this boundless, imaginative world, the lore is grounded and down-to-earth. Anyone can understand it without having to memorize a laundry-list of terminology which can’t be pronounced. It’s a simple story which invites readers to embrace the absurd and escape reality.
What makes this such a powerful book is its main duo. I know it’s cliche to say that characters are "well written" or whatever you may call them. But Scholar and Sphinx understands relationships so well that it can be extremely emotional without having to orchestrate dark, emotional scenes which stick out like a sore thumb. The genius is in the dynamic of its two main characters. David and Acacia are unique because one has a handicap, and the other is so affected by his new reality. The emotion between them doesn’t need to be romance-driven because there is no real romance between them. It’s the right balance between two characters who are so awkward together that they can’t get along as a team, and two characters with a cliched, gushing romance between them. This struck many emotional swells throughout my reading, as I empathized with what such bizarre characters were going through. There’s a particularly emotional moment in the first act when David is coming to grips with what he has to overcome for his loved ones. Though the book never reached a similar emotional high, this scene stuck with me the most.
Ultimately, where Scholar and Sphinx succeeds is in it’s accessibility. Truly anyone can read this fantasy book and enjoy it. Even children. This would be a great book to introduce youngsters to fantasy outside the world of mass-marketing. Another reason which hi-lights this is the fact that Scholar and Sphinx is clean, which is very unconventional for the genre. Though it goes to dark places, it doesn’t have to be crass or "dirty" to be funny, dramatic, or emotional. I love stories like these which aren’t afraid to refrain from sex, swearing, or unnecessary violence to have an edge or be entertaining. It relies on its story, characters, and world, and that’s all it needs.
It was difficult to come off my read of Scholar and Sphinx and then delve into a more complex sci-fi novel. It proves that fantasy can be simplified and accessible to those less familiar with the genre. It would be stellar if works in different fiction genres could take this route and embrace itself in an easy to read story which introduces novices, yet be thoroughly enjoyed by veterans. It’s a rare book which I can say I have no gripes with. Give it a read, and appreciate the accomplishment that is this book.
You can purchase The Scholar, The Sphinx, And The Shades Of Nyx from Amazon here.
-David Brashier; Huntsville, Alabama; June 2017
(Minor Spoilers Ahead)
Sci-Fi and Fantasy are two genres of literature which are, in many respects, one and the same. At least, they are capable of playing off each other. A sci-fi novel can be a massive space opera, but also use magic, an element of fantasy. Likewise, a fantasy novel could have dwarves and trolls battle each-other in submarines, an element of sci-fi. The two can also cross-genre with horror, noire, mystery; the possibilities are endless. Whereas horror or mystery describe the context of a plot device, sci-fi and fantasy describe a setting.
With that, it’s no wonder that since I started attending sci-fi/fantasy literary conventions for writing advice, I’ve come across a healthy share of sci-fi and fantasy novels. As a novice to the genre, the more I read, the more similarities I notice. Don’t get me wrong, it should be expected that stories of these genres share certain elements like use of magic, or faster-than-light travel. But at the point these elements are so similarly used as plot devices from novel-to-novel is when both genres tend to get stale for me. This is why it is innovative for sci-fi and fantasy to cross-genre with horror, romance, or noire in order to spice up a good story. I’m always looking for how a sci-fi or fantasy novel can change the game in terms of telling a story, while appropriately retaining elements which distinguish the genre. If what I’m reading is a run-of-the-mill dungeon crawl or pew-pew space opera, I’m tempted to shelve the book.
Fire With Fire by Charles E. Gannon is exactly the kind of story I am referring to; a sci-fi novel which tells a unique and engaging story, while pushing the boundaries of originality within the genre. Despite being among the longest novels I’ve ever read, its angle on already over-used sci-fi tropes brings a fresh and new experience to well-worn readers.
The story follows an investigative reporter who reanimates from 14 years of cryo-sleep. He is immediately recruited to train as a soldier to investigate shady business on a human-inhabited planet. What he discovers is that intelligent alien life exists on this planet in the form of small, animal-like creatures which inhibit human-like conscience. The reporter then relays his findings to a coalition of Earth’s governments, only to then be made a wanted fugitive for everything he knows. When he is recaptured by the government, he is asked to do the unthinkable: act as Earth’s ambassador in communicating with alien species.
What makes Fire With Fire work is that it takes the typical trope of humans discovering life beyond Earth, approaches it from a diplomatic angle, and makes it interesting as hell. Though it is by all means a space opera, readers shouldn’t expect many pew-pew action scenes and massive space battles. It is a story which examines how humanity and other alien species would act to cooperate and ensure the survival and wellbeing of every race, despite their drastic differences. It’s a high-stakes Cold War in space which, surprisingly, puts readers on edge.
Fire With Fire is not for the faint of heart, however. This novel requires some decent reading experience. Novice readers should be cautious, and certainly read some sci-fi novels before tackling it. The reason being is that it goes into excessive detail with technology, space diplomacy, alien mentality, sovereignty of Earth and space governments; the list goes on. What’s so peculiar about this novel is that it handles space politics so well. Most sci-fi stories which attempt to tackle politics are typically boring or poorly handled. Despite all of its detail, Fire With Fire’s space politics manage to feel fresh and suspenseful, without overhauling commentary of Earth’s historical and modern-day equivalents. The reason it works so well is that the team of human diplomats is chock-full of interesting and lovable characters who have charm. There’s even some playful banter among the team, given their dire circumstances, yet it knows to be serious when it is appropriate. It’s a massive slap in the face to the Star Wars prequels, a trilogy which was crippled by boring space diplomacy and even more stale space diplomats. Here, despite being exceedingly more detailed than that of the Star Wars prequels, Gannon manages to make intergalactic politics work.
Despite containing a slew of space opera tropes, Fire With Fire manages to bring forth a plethora of originality in its more material elements. Certain aspects of technology, though a little wordy at times, feel fresh and new having been present in the genre for so long. The alien species, much like Arrival, aren’t little green men or humanoid; they have very original designs and even more original psyches. Gannon took time to consider how a truly alien species would interpret information, and react in certain situations. It gives the aliens a sense of predictability, but also leaves the reader guessing the more reclusive species next moves.
Despite my praise, I do find FWF to have a few flaws. Firstly, sometimes the novel can be too detailed. There are certain scenes in which I was asking myself "Do I really need this process explained to me?". This is especially evident when characters are in an action scene which is meant to be quick and suspenseful, and Gannon takes time to give an overly detailed explanation of the technology the characters are using. It’s not needed, and kills the momentum of the scene. Also, the third act, though without a doubt the best, needs to be shorter. It could cut fifty pages if it had simply moved the story along a little faster and not been so repetitive and dragged out.
Though it contains a handful of bugs, I was ecstatic of my experience with Fire With Fire. I got to listen to Charles Gannon speak at JordanCon 9 in April of this year, and it was quiet the interesting session. I was skeptical at the length of his books, but I more than breezed through FWF because it is written so well. It makes my panel experience with Gannon all the more cherished. I definitely recommend this novel for experienced sci-fi readers, and I encourage you to explore Gannon’s intricate world. I am more than looking forward to its sequels.
You can purchase Fire With Fire from Amazon here.
-David Brashier; Huntsville, Alabama; May 2017
I rarely come across a fantasy or sci-fi novel in which a majority of the plot lulls, or is at least lacking excitement. Novels of this genre, though each unique in their own special way, almost always begin with a hook to draw the reader into the story; usually an action scene, or something wildly dramatic. A writer friend of mine says that if the reader isn’t invested by page 10, the author is doing it wrong. It is also rare for me to come across a "bad book". It is a fact that there are very few "bad" books due to the amount of heart, soul, and effort required of completing a novel-length story. But the times when I have read something less than stellar, it was typically because the story wasn’t engaging, or spent so much time in a lulled state that I felt no reason to continue reading. Books like these I keep hidden in a drawer until I decide to read them, or I eventually donate them.
The Hum And The Shiver by Alex Bledsoe may be the only book I have read which, in my opinion, is by all outward appearances a slow novel, but engaged me in its story the entire way through. There is no "hook" within the first ten pages. There is little to no "action" until the final third of the novel, which by most standards isn’t the least bit "exciting". The story is simply a large group of characters living their everyday lives in a setting. What makes it so engaging is a damn good mystery, which makes for one of the most creatively written novels I’ve ever read.
The story is set in a small, east Tennessee town which clearly has a past and an extensive lore to it. The reader catches glimpses of this lore through the eyes of two outsiders, a preacher trying to start a parish in the town, and a reporter. The reader is as clueless to this mystery as these outsiders, however neither of them are the main character. The main character and her close-knit friends and family are the ones who have been shaped by the town’s past and lore, as has every other character who lives there. Because of this, the characters never discuss the lore of their people. They live in a secluded town, and they never reveal their secrets to the occasional outsider. Because every character in the story, aside from the two outsiders, has been raised in the lore, no one discusses it. There is simply no need for them to. It’s a clever way to write a mystery. What makes enduring the entire book worthwhile, is just how interesting the culture of the town is.
Bledsoe creates a lore in this book which is so unique and creative, and unlike anything I’ve ever read before. It is so well thought out that the reader keeps asking questions with every turn of the page. Why do they do this? Why can’t they do that? What does that word mean? The residents of the town are passionate about their traditions as they force them on the main character, and through her pain, the reader can only wonder why they are so explicit. But again, they never take the time to explain the lore because everyone is already engulfed in it. All is eventually revealed, but it takes a journey of establishing real characters with real emotion to get there.
And that is what makes Hum and Shiver feel so genuine amongst its over-the-top lore. The characters are vast, unique, and genuine. They speak to each other about their culture in everyday conversations. Their actions and dialogue are further humanized by the fact that their culture is flawed. Characters, like in politics, disagree as to how things should be done, which creates steaming conflict. But, once again, the reader never knows the why behind people’s anger because they need not discuss the details.
The Hum And The Shiver is one of the most captivating novels I have read, and it didn’t have to shock me every few chapters to do it. It is a mystery which keeps the reader asking "Why?", and keeps pages turning from start to finish. Its clever use of plot elements keeps the story at so steady a pace, yet it surprisingly works and ultimately pays off. On top of that, mystery behind the lore alone makes this story worth the read. For that, I can do nothing more than recommend it.
You can purchase The Hum And The Shiver here.
-David Brashier; Huntsville, Alabama; February 2016
D.B. Jackson presents a compelling tale with his novel Theiftaker, a pre-American Revolution historic fiction…with magic. On paper, nothing could sound better.
In Jackson’s novel, Ethan Kaille is a down-on-his-luck thieftaker in colonial Boston. A theiftaker is someone who retrieves stolen property for money. Ethan’s dirty secret is that he is also a conjurer, and can use organic material around him to cast spells. The novel opens with Ethan tracking down a target he’s been hired to pursue, in which we see Ethan’s extent of mental, physical, and magical ability. This opening chapter does well to establish the character and his broad range of skill. We also see right from the start that the magic in Jackson’s world isn’t the clean-cut magic we’re used to seeing in the likes of say, Harry Potter. Jackson’s magic is crude, and doesn’t always work for novice conjurers. It requires energy and effort which gives the conjuring characters a taxing factor in their ability, and are by no means invincible. In addition, we learn that Ethan has to cut himself whenever he conjures because blood produces the most effective spells, so use of magic always comes at a sacrifice. This raises the stakes for the character to the extent of forcing Ethan to choose between self sacrifice or what is an otherwise more comfortable journey. The big question is always which will grant him his life.
Once the story gets moving, we learn of Ethan’s hardships as a theiftaker, and that he’s new to the business. He faces the challenge of dealing with a substantial rival theiftaker, Sephira Pryce, who essentially has mooks all over Boston hunting Ethan down to keep him from stealing her work. This takes a dark turn for Ethan when he is hired to retrieve a stolen article from the daughter of a wealthy merchant, who is willing to pay him substantially for his efforts. Ethan has never taken up the task of solving a murder mystery, but is willing to try. Not only does he discover how threatened he is by conspirators of the murder, but Sephira Pryce is out for blood since he has accepted a high-paying contract which would otherwise belong to her. Throughout the story, whenever Ethan is close to finding another clue, Sephira and her mooks get in the way and he has to start from square one again. And whenever Ethan encounters Sephira, it’s no quick beat 'em up. Ethan is almost always outnumbered 10 to 1, and he must refrain from using magic or will otherwise be accused as a witch. When Sephira’s men beat him, he suffers the consequences. This isn’t like the movies where our hero can take a beating and get back up again unscathed. When Ethan is beaten, he is practically immobilized. His bones break, he gets bloodied up, and has trouble breathing. His injuries get in the way later in the novel when he’s at his most desperate. While Spephira and her men are a substantial threat in the story, it’s rarely explained how she has so much power. We understand that she essentially owns the streets of Boston, but we never know why. Additionally, while it’s mentioned multiple times that she’s a thieftaker, we never see her do any theiftaking, which I feel would’ve made her character a little more fledged out. I may be getting ahead of myself as there are more Thieftaker novels after this, but it would’ve been nice to see her style of thieftaking in this book. Even then, this is only a minor nitpick compared to the rest of the novel.
Ethan also goes to bat with another conjurer throughout the story who quickly proves to be far more skilled than himself. The conjurer is never physically visible, which makes thwarting him all the more difficult. In these instances, Ethan has to get creative with his conjurings, and readers witness the full extent of magic within Jackson’s world. The conjurer never allows Ethan to walk away on two feet. The spells this mysterious figure uses on him are violent, and Jackson’s descriptions make the reader feel the pain Ethan is going through. These are some of the best and scariest portions of the novel, which strangely enough make the reader feel like their in Ethan’s shoes.
Jackson’s Boston is one of the most believable reading environments I’ve ever been placed in. Having taking place nearly 250 years ago, it feels like I’m actually there and can talk to the city’s inhabitants. I can feel the grime and dirt, and can smell the smells. Jackson’s similes and metaphors are also kept within the time period. There are no modern-day comparisons or comparisons that could work for any point in history. For example, there’s a part where Jackson describes a character’s dialogue as "a statement that would’ve made King George wince". Something like that ins’t necessary per-say, but it keeps the story within it’s setting, and is a nice little touch. The believability of this world is once again thanks to the way Jackson describes it. We see authors do this all the time, but Theiftaker feels like a place I can actually go to and interact with. Jackson takes us to every nook and cranny of Boston through Ethan’s adventures, meeting colorful characters and exploring new locations, which only adds to the believability of the world.
Thieftaker lends readers to a vast number of characters, which most fantasy novels would have issues handling for casual readers. However most every character in Thieftaker feels genuine because they add weight to the story. No character is shoe-horned in simply for the sake of adding something that wasn’t there before, or as a cop-out to advance the plot. It’s because they hold so much weight that we feel that they’re actually there.
For a novel that takes place in Revolutionary America, there aren’t that many references to typical American Revolution tropes, and for me, that’s a good thing. Most settings in this era would have Ethan amidst the Boston Tea Party, or fighting redcoats as a vigilante. Ethan is most nearly the exact opposite. He simply doesn’t give a damn about taxation without representation, and is just trying to do his job. He will take sides with the patriots or loyalists if it means not having to discuss politics so he can get on with business. This is a fresh look at a character in this era, as most Revolutionary characters always side with the patriots, and it’s interesting to see someone who’s neutral for once. There are also few major historical figures of the time. There are no George Washingtons or Thomas Jeffersons here. Rather, most figures of this status are given as little as a mention, such as Paul Revere or John Hancock. The most significant figure who appears is Samuel Adams, and even then he isn’t front and center throughout the novel, and is instead used as a means to relay information to Ethan in the latter half of the story. This is how it should be. Theiftaker is willing to stick to it’s own story by using its setting as a backdrop, and not rely on historical figures for history class nostalgia. While I’m sure that Ethan will encounter more historical figures in future novels, as there are more in this series, for a first installment this was a very smart choice. It shows readers that the story knows what it is doing independently, and doesn’t have to rely on nostalgia for the sake of getting history buffs’ attention.
Thieftaker is an engaging novel which engulfs readers in a believable world, and manages to stick to it’s plot throughout. There’s no fluff in the story, and every character adds weight, which is a rare thing for novels with such a vast number of characters to achieve. Though a lack historical characters, any red-blooded American fantasy lover should get a kick out of this novel, as well as casual readers who aren’t into fantasy. Definitely a tale for the ages.
-David Brashier; Huntsville, Alabama; June 2016
Purchase Theiftaker from Amazon.
This week, I read Ray Bradbury’s The Martian Chronicles. I’m a massive Bradbury fan as it is; Fahrenheit 541 and Something Wicked This Way Comes are among my favorite books. His social commentary in 541 has become a staple in American school systems, but his visions of the dystopian future of humanity are not what makes him a great author. Simply the style of his writing is enough to pick up a book and read it. The words put a smile on my face as to how quirky they are written, yet are somehow cohesive. He can convey massive stories with very few words which is why his name has become what it is today. The Martian Chronicles is no exception of a massive story that takes less than a week to read.
The Martian Chronicles is the story of Earth and Mars; two very different planets that turn out to be very much alike. The novel is nothing but segmented short stories, all of which contain different characters which have nothing to do with other characters in other short stories. This is because Bradbury is not trying to tell the story of individuals, but the story of two planets.
The book was written in the height of Cold War hysteria, and the fears of a massive nuclear war that would de-civilize Earth. Humans who wish to avoid such a war move to Mars in giant rockets. Bradbury establishes Mars as a planet civilized with its own beings and civilizations, which are abandoned, killed off, and destroyed over time, as more and more humans colonize the planet. We see the effects on the people of Earth as Mars becomes a more desirable place to live. Consequently, the more people colonizing the planet, the more the government soon attempts to take over. As tensions escalate on Earth, the "Martians" must decide weather they are to stand their ground, or give in to their humanity. All of these events are depicted in short stories that are entertaining, funny, action packed, and suspenseful. There is never a dull moment, and the seemingly limitless boundaries of the planet are open to endless interpretation by the imagination.
Bradbury tells us the large-scale story of Earth and Mars through the eyes of little humans who are concerned only with their own affairs. His characters may not know it, but they are contributing to a grander cause within the novel. It’s clever storytelling like this that continues to make Bradbury’s work worthwhile, and another must-read for generations to come.
-David Brashier; Huntsville, Alabama; April 2016
The Hicks/Hayes duo returns to their novelized nightmares in the Cycle of Ages: Sands of Sorrow, a novel which once again challenges the imagination with fantasy, character, worlds, and other-worlds. Sands of Sorrow, much like Finders Keepers, contains the typical Hicks/Hayes slow beginning. We find the surviving trio from the first installment, in a completely new location from where we last saw them. Significant time has clearly passed, as the trio are attempting to find the remaining parts to their newfound vessel, The Seadragon. They are also accompanied by new characters, a roster which quickly grows to more.
From the beginning, the scale of Faltyr is expanded, in which we now encounter vast cities, and mass mountains, a great setting change from the small island region of Finders Keepers. Despite the slow start, our characters quickly find themselves in need of giving their all in an ambush attack, in an attempt to flee the city in which they are among the hunted. The escape is very wel executed, and reminds readers about the sheer power of magic that exists in Faltyr. They quickly escape with a band of prisoned elves, some of which may be holding some secrets, and go into hiding into the post-apocalyptic desert of the Sands of Sorrow. From here, the story takes on a Mad Max: Fury Road chase sequence, in which the rag-tag band of mercenaries must choose fight or flight instinct in accomplishing their goal, while also being chased by their pursuers.
A drawback to the novel is that there is a very broad cast of characters to contend with, as well as remember their purpose in the story. However, this is more than made up for by improved character development for our original trio, Dor, Yax, and Bruexias, as well as some of the new additions. Dor, who was a stick-in-the-mud wizard hell-bent on his own goals in Finders Keepers, is now given more time to develop, as well as emote; he can be serious, sad, humorous, and even romantic throughout the story. He is under much less stress in this installment, and is a much more enjoyable character to read about. Yax is given development, both in his emotions, but also in his abilities and lore. We learn more about the elven world by allowing him to interact with his own peoples, and even a love-interest, whereas in the first installment, he was simply a skilled fighter. Bruexias, who was in the same boat as Yax in Finders Keepers, is given development in his willingness to fight for his friends, and this time his family. A character who was once a brooding no-nonsense fighter, now becomes an emotional character with much involvement to the story.
The fuel to this great character development, is the clever use of having the characters separated through most of the novel. It is here where the characters must work off of themselves and new comers, in order to advance the story. If they were separated only for the purpose of getting lost and finding their way back to the group, it wouldn’t have been very interesting to read about, and readers would find themselves longing to get back to Dor’s portion of the story. Instead, the actions of both groups, affect the other.
Action is at its very greatest in this novel. With twists and turns and ridiculous use of Aether magic, there is no telling what is around the corner as to how our characters fight. Especially from the character of Dor, who comes out of his shell in this novel to get up close and personal to his contenders, rather than sticking strictly to magic. Even then, his magic is some of the most fun sequences in the book.
It is not only the action that develops in this one, but also the lore and myth of Faltyr. Unlike most portions of lore in Finder’s Keepers in which the mystery of Faltyr had little to do with the actual plot, the legends of Faltyr and its gods mesh entirely with the story, which is all tied up in the ending.
Sands of Sorrow manages to surpass the quality of its predecessor, and makes the reader want to continue turning pages until they’ve realized how much of their time has burned away in the fires of the Nine Hells. Give this one a read for an acid trip of action and fantasy.
-David Brashier; Atlanta Georgia; January 2016
You can order the novel from Amazon here.
Jeremy Hicks is a good friend of mine, and an Obi-Wan in my training as a writer. His book series, the Cycle of Ages Saga, is a fantasy series that I recommend anyone who isn't a fan of the fantasy genre, or who are at least skeptical, should read. It manages to break a lot of the typical fantasy cliches.
The Cycle of Ages Saga: Finders Keepers seems like a typical fantasy bore starting out. Readers unfamiliar with the genre may seem skeptical approaching a fantasy novel, given that the genre has been done to death and explored in depth thanks to media such as World of Warcraft, 'D&D', and a plethora of films and tv shows. After a few sluggish opening chapters, Finders Keepers challenges the imagination around every corner, and explores the fantasy genre, doing something fresh and new with every page.
The cast at first seems vast, complicated, and difficult to follow, but this isn’t necessarily a bad thing. Often times, a new character would be added to the already large roster, and I was reluctant to take the time to visualize the character. I would move along in the text, but wouldn’t waive too far before backtracking and challenge my mind to put a name with a face. The cast quickly becomes unique, and as the characters’ backstories and arcs are presented, it’s exciting to see what everyone is up to across chapters.
Finders Keepers establishes the world of Faltyr in vast scale, giving a larger sense to what seems like a minor conflict that is the story. The stress put on the characters reveals their conflicts internally and externally, struggles, desires, and romances. What originally seemed like a vast roster of characters quickly slims as conflict erupts, allowing the reader to connect with them better. Time is taken alternating between opposing factions, so that not too much time is spent on one group, and some chapters are divided amongst character conflict within groups. Time is taken to give a mythos to not only the story, but also the world of Faltyr, in a journal reading scene that is a fresh break from the conflict facing the characters. Action scenes are explicitly detailed, and allows the imagination to gain a sense of atmosphere and mood. Character deaths really matter, and increase emotional impact on the story.
Overall, Finders Keepers is worth the read, simply from the challenge it presents to the mind to develop the world and peoples of Faltyr. It makes a lot out of a small conflict with a cornucopia of originality. Please do your self a favor, and check this one out.
-David Brashier; Huntsville, Alabama; January 2016
You can order the novel from Amazon here.