This used to be labeled “cyberpunk.” Some believe it’ll be called “real life,” sooner or later.
Even in a future world where both landscapes and personal identities are way too fluid, murders still happen, and their solutions must be found. No matter what (or who) is damaged along the way.
Never mind the exact year. All you need to know is that sometime in the future, coastal cities like Los Angeles are all but halfway submerged in water and there has been so much war in the interim that it’s hard to know who won or lost. Still, people adapt to change as they always have and Orr Vue, a grizzled, sardonic retired soldier and professional “fact checker” for a powerful data-collecting company called InfoDrip, insists on living as quiet a SoCal life as super-stressed socio-environmental circumstances permit. Somehow, there’s always LAPD around, and they pick up Orr for questioning about the murder of his employer, Thomas Mahoney. Orr’s not a suspect, but Auggie Wolf, his fellow war vet and one-time lover, is being held for interrogation. Even though the cops are sure they have their man, they allow Orr to dig further into the case using his facility with piercing through foggy deceptions with factoids—and with wielding surplus military drones. Also interested in using Orr’s detecting skills is Mahoney’s daughter, Marianna, enigmatic and, of course, beautiful, though the old soldier isn’t satisfied with using that mere adjective: “[She] had a body that hit my eyes harder than tear gas, lit up my nervous system like a dozen Tasers, made my heart pound harder than a panic attack, and took my breath away like a week of water-boarding…I wanted to tell her secrets until I ran out of them, and then make some up just to keep on talking.” That sentence should give you some idea of how O’Brien keeps your head in the action with antic, lyrical wit and vivid—if sometimes bewildering—action scenes as Orr’s search for Mahoney’s killer becomes more brutally complex. It all works out in extremely weird, perversely satisfying ways.
This used to be labeled “cyberpunk.” Some believe it’ll be called “real life,” sooner or later.Pub Date: March 4, 2025
ISBN: 9780593687284
Page Count: 304
Publisher: Pantheon
Review Posted Online: Dec. 14, 2024
Kirkus Reviews Issue: Jan. 15, 2025
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
A disarmingly heartfelt space adventure that dares to suggest genocide might be a bad business.
When a bunch of corporate assholes mark their planet for destruction, a garage band of colonists must defend their home world with the power of rock.
Slightly sidestepping his frenetic litRPG—literary role-playing game—doorstoppers, here Dinniman takes on capitalism, propaganda, xenophobia, and violence as entertainment. Thankfully for readers, it’s all wrapped in the usual profane, adolescent humor, and SF readers will have a ball. A couple of hundred years after they left Earth, the inhabitants of the interstellar colony of New Sonora weren’t expecting much in the way of new threats, especially after a mysterious illness killed almost everyone between the ages of 30 and 60. That disaster left only the young and the old on the populated planet, where farming is enabled by highly accelerated AI and people are generally cool with each other. But when drummer Oliver Lewis stumbles across a foul-mouthed killer mech piloted by a child, he realizes that something’s definitely fishy. Earth, it seems, has classified the New Sonorans as non-human and scheduled their destruction as a paid, five-day combat game. Apex Industries, led by lead mercenary Eli Opel, has reverse-engineered Ender’s Game and is turning loose its players with real bullets and bombs on the population of New Sonora. The resistance is a weird bunch, led by proto-slacker Oliver; his little sister, Lulu; and his ex-girlfriend, documentary filmmaker and burgeoning revolutionary Rosita Zapatero, as well as the other members of Oliver’s band, the Rhythm Mafia. Thankfully, they also have Roger, the last functioning AI on the planet, though Oliver’s grandfather permanently programmed it to nannybot mode as a dying joke. Call the book overlong—the battle scenes often feel like watching someone play a videogame—but the humor and the execution are cutting without being mean and there’s almost always a point.
A disarmingly heartfelt space adventure that dares to suggest genocide might be a bad business.Pub Date: Feb. 10, 2026
ISBN: 9780593820308
Page Count: 448
Publisher: Ace/Berkley
Review Posted Online: Dec. 12, 2025
Kirkus Reviews Issue: Jan. 15, 2026
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