Great characters, a novel concept, and scary set pieces, but it never gels into something memorably terrifying.
A band of teenage outcasts must overcome demons both personal and virtual when they stumble into an augmented-reality game.
Like Tobey's debut (The Faculty Club, 2010), this thriller pulls influences and styles from both other books and other mediums, in this case borrowing liberally from Stephen King, Stranger Things, and what academics dub “social problems novels,” this one echoing Rona Jaffe’s Mazes and Monsters (1981). The high schoolers here are Charlie, who lost his mom to cancer; Harvard-bound Indian American prodigy Vanhi; Kenny, a bit of a cipher; Alex, who's under way too much pressure; and Peter, who’s rich, privileged, and high. They’re a losers’ club who retreat to their high school’s tech lab, where they can code, game, and tinker under Charlie’s invented moniker, the Vindicators. Things get weird when they stumble onto an old-school text game run by an omnipotent, omniscient artificial intelligence who thinks it’s God with a big G. It’s an evil bargain, too, and the AI seems to have the power to make its deals happen: If you win, all your dreams come true, and if you lose, you die. Actions the game likes earn players “Goldz," currency they use to buy privileges and powers, while other behaviors earn “Blaxx,” demerits that might get you killed. Over time, the kids are awarded “Aziteks,” glasses that augment reality so they can see what God has in mind for the world. There are other banal things going on—bullies who are complete dicks, as happens, as well as crushes and the novel’s central theme: the complicated relationships between parents and children. There’s a great thriller in here, but you have to carve off the excess to get to it. The mythology of The God Game, originating with a 1990s-era squad something like the Vindicators, gets too complicated, and the rules of this universe are never really clear. By the end it’s all a bit dizzying and not entirely satisfying.
Great characters, a novel concept, and scary set pieces, but it never gels into something memorably terrifying.Pub Date: Jan. 7, 2020
ISBN: 978-1-250-30614-2
Page Count: 464
Publisher: St. Martin's
Review Posted Online: Oct. 13, 2019
Kirkus Reviews Issue: Nov. 1, 2019
BOOK REVIEW
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
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the...
Brown presents the second installment of his epic science-fiction trilogy, and like the first (Red Rising, 2014), it’s chock-full of interpersonal tension, class conflict and violence.
The opening reintroduces us to Darrow au Andromedus, whose wife, Eo, was killed in the first volume. Also known as the Reaper, Darrow is a lancer in the House of Augustus and is still looking for revenge on the Golds, who are both in control and in the ascendant. The novel opens with a galactic war game, seemingly a simulation, but Darrow’s opponent, Karnus au Bellona, makes it very real when he rams Darrow’s ship and causes a large number of fatalities. In the main narrative thread, Darrow has infiltrated the Golds and continues to seek ways to subvert their oppressive and dominant culture. The world Brown creates here is both dense and densely populated, with a curious amalgam of the classical, the medieval and the futuristic. Characters with names like Cassius, Pliny, Theodora and Nero coexist—sometimes uneasily—with Daxo, Kavax and Sevro. And the characters inhabit a world with a vaguely medieval social hierarchy yet containing futuristic technology such as gravBoots. Amid the chronological murkiness, one thing is clear—Darrow is an assertive hero claiming as a birthright his obligation to fight against oppression: "For seven hundred years we have been enslaved….We have been kept in darkness. But there will come a day when we walk in the light." Stirring—and archetypal—stuff.
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the future and quasi-historicism.Pub Date: Jan. 6, 2015
ISBN: 978-0-345-53981-6
Page Count: 448
Publisher: Del Rey/Ballantine
Review Posted Online: Oct. 22, 2014
Kirkus Reviews Issue: Nov. 1, 2014
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