An animated, inventive, and infinitely entertaining sci-fi tale.
In Bowie’s debut fantasy, three beings from another universe unite to unlock their magical potential and take down a corrupt, ruling mage.
A hacker’s virus has decimated four universes in Nancy Iffik’s Universe Grower, courtesy of her brother Nigel, who compromised her system by browsing pornography on it. Only one universe remains, and just one planet, Aisaphora—and both are still in danger. On said planet, Luiz Alvarez is an investor who incites the wrath of Richard Victor, a representative from the much-feared organization The Business, when his most recent investment for them tanks. Amateur fighter Nor “The Hawk” Dixon is a Zord who’s biologically a female but identifies as genderless as a member of the International Church of Zorda. They, along with shaman Calliya Tregoriya (a representative of the Crenosiyos, a species that shares the planet with humans), are drawn to the Black Mage Manor, where the late Black Mage’s ghost says that he’s chosen them to remedy Aisaphora’s magical-power imbalance. Using talismans to hone their newfound magic capabilities, the trio sets its sights on defeating the politically unscrupulous Grand White Mage. Bowie’s story is set in a fictional world that hints at something much bigger, involving other “universe tiers” (Nancy’s universe is in the “Ninth Tier,” Aisaphora in the “Tenth”). It smartly centers on Aisaphora, though, and its three crucial residents, adding a fourth with the titular character—another Crenosiyo, appearing in flashbacks that gradually inch toward the present day. His inclusion injects an engaging touch of mystery to the proceedings, as his significance isn’t revealed until much later. However, Bowie’s other characters, with their ever-shifting first-person narratives, are the true engine of the book: Calliya is perpetually cynical (“I’ve mostly avoided people because they suck”) and the charmingly dense Luiz prefers living in a drug-induced, hallucinogenic haze. Readers will find Nor to be the most striking, however; as a Zord, she uses the “holy pronoun” form (“ey,” “eir,” and “em”) for both genders and treats males and females the same—although anyone who’s not a Zord is merely a “weak-kin.”
An animated, inventive, and infinitely entertaining sci-fi tale.Pub Date: Jan. 31, 2017
ISBN: N/A
Page Count: 223
Publisher: CreateSpace
Review Posted Online: April 3, 2017
Review Program: Kirkus Indie
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
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
SEEN & HEARD
SEEN & HEARD
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