This intriguing tale mixing sci-fi and magic should appeal to fans of the series and perhaps attract additional followers.
A series of wars, terrorist attacks, and supposed natural disasters turns out to be created by ultra-wealthy businessmen with the aim of interplanetary takeover in this second installment of a trilogy.
Australian hero David Granger and his friends and family—along with Orack, a powerful, computer-generated hologram—face down a series of scoundrels bent on taking over Earth and possibly the planets Atlantis, Genesis, and Dudgeon. Like some grandiose game of Whac-A-Mole, no sooner do they knock down a nefarious “Mr. Big” than one or more new evil kingpins pop up. Eventually, Granger and his allies once more find themselves in a rousing interplanetary showdown with archvillains Dotoff and the Supreme Commander. But not before the protagonist and his intrepid band elicit the aid of legendary Arthurian magicians Merlin and Morgana. The latter takes Granger; his daughter, Susan; and his son, Robert, on a Christmas-like sleigh ride through time (“They seemed to pop out of a cloud mass and, with a slight bump, settled on rich soft grassy soil...Morgana told them they were at Camelot and the castle was the one King Arthur stole from her. The lake to the side was Loch Lomond”). Meanwhile, Orack continues to evolve from an emotionless machine to a feeling being. Unlike the first volume of the Granger saga, which tied together various episodes in the hero’s life, Johnson’s (Aussie Pilot, 2018) sequel has a more coherent, linear storyline and smoother prose. While the characters, except for Orack, are still somewhat flat, the author does render Granger and company more human than in the first installment, as in this interchange involving the protagonist and Robert: “David turned to face his son, smiled that broad smile...‘Ready as we ever will be, I guess,’ he replied, and they both strode with an identical swagger as they made their way towards the shuttle.” In addition, Johnson certainly has an eye for vivid details. But instead of utilizing his skill building empathetic players or gripping situations, he applies it mostly to describing what the characters eat: “He pan-fried the prawns in garlic and deep-fried two small fillets of fish with some squid in batter. He placed the salad on a large dinner plate and…added a single serving neatly to each plate.”
This intriguing tale mixing sci-fi and magic should appeal to fans of the series and perhaps attract additional followers.Pub Date: July 20, 2018
ISBN: 978-1-5434-0979-6
Page Count: 222
Publisher: XlibrisAU
Review Posted Online: Nov. 5, 2018
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
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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