A rare combination of soft-boiled hero, gut-churning crime, official puritanism, and commercial arrogance, whose chilling,...
Near-future police thriller from the author of such significant SF yarns as The Secret of Life (2001) and the far-future Confluence Trilogy. As the UK slowly recovers from the effects of the InfoWar—electronic/computer devastation and street violence promulgated by a mysterious alliance of external terrorists and internal insurrectionists—millions of cameras connected to the smart computer system ADESS keep London completely under surveillance. John, a drunken, despairing detective, loathed and despised by many of his colleagues for apparent cowardice during the InfoWar, bears various nicknames (his fellow officers, disparaging his stature, call him “Minimum”; to his sometime girlfriend Julie, he's “Dixon,” an old-time bobby, unarmed and on foot, patrolling a community where he knows everybody). Despite being sidelined into the near-defunct police computer unit T12, he's drawn into the torture/murder of performance artist Sophie Booth, the deed done before a live Webcam by someone wearing a Margaret Thatcher mask. John suspects a previous acquaintance, the oleaginous, psychotic computer whiz Barry Deane, who unfortunately has a cast-iron alibi: in anything-goes Cuba, he was running porn Web sites (illegal in the UK) for his Maltese mafia bosses. But why did Sophie Booth's murderer strip the hard drives from her computers? What was Anthony Booth, Sophie's fabulously rich uncle and developer of the ADESS system, doing in Sophie's flat? And how could Sophie apparently vanish from ADESS's purview at will?
A rare combination of soft-boiled hero, gut-churning crime, official puritanism, and commercial arrogance, whose chilling, all-too-believable backdrop will be instantly recognized by anyone familiar with the UK's already prevalent CCTV schemes.Pub Date: June 1, 2001
ISBN: 0-765-30392-2
Page Count: 400
Publisher: Tor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2002
An ambitious and satisfying conclusion to a monumental saga.
Brown completes his science-fiction trilogy with another intricately plotted and densely populated tome, this one continuing the focus on a rebellion against the imperious Golds.
This last volume is incomprehensible without reference to the first two. Briefly, Darrow of Lykos, aka Reaper, has been “carved” from his status as a Red (the lowest class) into a Gold. This allows him to infiltrate the Gold political infrastructure…but a game’s afoot, and at the beginning of the third volume, Darrow finds himself isolated and imprisoned for his insurgent activities. He longs both for rescue and for revenge, and eventually he gets both. Brown is an expert at creating violent set pieces whose cartoonish aspects (“ ‘Waste ’em,’ Sevro says with a sneer” ) are undermined by the graphic intensity of the savagery, with razors being a favored instrument of combat. Brown creates an alternative universe that is multilayered and seething with characters who exist in a shadow world between history and myth, much as in Frank Herbert’s Dune. This world is vaguely Teutonic/Scandinavian (with characters such as Magnus, Ragnar, and the Valkyrie) and vaguely Roman (Octavia, Romulus, Cassius) but ultimately wholly eclectic. At the center are Darrow, his lover, Mustang, and the political and military action of the Uprising. Loyalties are conflicted, confusing, and malleable. Along the way we see Darrow become more heroic and daring and Mustang, more charismatic and unswerving, both agents of good in a battle against forces of corruption and domination. Among Darrow’s insights as he works his way to a position of ascendancy is that “as we pretend to be brave, we become so.”
An ambitious and satisfying conclusion to a monumental saga.Pub Date: Feb. 9, 2016
ISBN: 978-0-345-53984-7
Page Count: 400
Publisher: Del Rey/Ballantine
Review Posted Online: Dec. 8, 2015
Kirkus Reviews Issue: Dec. 15, 2015
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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