Tag Archives: urban fantasy

Danse Macabre

So, here’s a possibly interesting tidbit about Danse Macabre. When I first knew of its existence in hardback, I wasn’t yet halfway through the series, and it looked like a lot of change was in store ahead. Anita was going from a zombie animator and vampire killer and unofficial detective to federal marshal? Cool beans! Pregnancy scare? Sure, fair enough, she’s got a boyfriend and maybe a second one. This would have been 2006, I guess?

Also, that probably wasn’t interesting at all, but it was pretty much the only thing I could think of to type that wouldn’t be dripping with vitriol, and it seems fair to give my readers a safe haven wherein they can decide to not keep going.

Because, Jesus God, this is a fucking terrible book. It spans 48 hours leading up to a vampire ballet performance, which latter part might have been pretty cool to watch, I guess? It was ten of the maybe fifteen pages where I didn’t want to claw my eyes out of my head while reading it, anyway, so I can’t help but look upon the scene fondly, y’know? In the meantime, there are these five hundred pages spanning these 48 hours, in which nothing of any interest happens. Anita might be pregnant, and she’s going to be sure to be strong about it except for fighting with all of her friends, or maybe that should be the definition of strength instead of an exception. But she also just might carry a bunch of impossible virii and be way stronger than anyone yet suspects, instead of being pregnant. All those Master Vampires they’ve invited to town for the ballet might have been a bad scary idea that will destroy their lives, or maybe they’ll gain all kinds of new power by having giant vampire orgies instead. She’ll certainly have to manage the expectations and feelings of her myriad emotionally crippled boyfriends, sure the normal ones like Richard and Nathaniel and Jason, but let’s not forget all the awesome non-names we can throw around, like Haven or Wicked or Truth or London or Asher or for fuck’s sake Requiem! And as if that weren’t bad enough, the Master of Chicago is named Augustine, which would be like a breath of fresh air except that he’s older than perennial fan favorite Jean Claude, and yet everyone calls him Auggie. AUGGIE!!!!

It’s like… well, I know I’ve mentioned Mary Sue before, but to sum up right quick, Mary Sue is a character in Star Trek fan fiction from probably the ’70s, who was written as a stand-in for the author, and she shows up every main character you’ve heard of on the Enterprise, she’s the one person with all the special skills and talents to save the day, plus pretty much everyone wants her in the worst way. It’s not that Anita Blake is a Mary Sue kind of character. It’s not THAT SIMPLE. It’s like, in these last few books, Anita Blake is the character that the original fictional Mary Sue would have written, if she herself were an author in addition to her many space-faring talents.

The worst part? I actually finished the book. I don’t exactly know how. I mean, at the beginning, I wasn’t angry, I just wanted to quit because it was so unpleasant. But it felt at that point like I was having an unfair personal reaction to some story elements, so I persevered. Eventually the relief of that part of the plot fading out of prominence got me through the interminable middle section in a bull-rush. And by the time I realized that every time I read more than a page at a sitting, I got angry, I was a) almost finished and b) didn’t have access to the next book I wanted to read. And by the time I solved that problem, I was really almost finished, and the old idiotic completionism had kicked in. But, seriously, I think I accidentally got a little drunk on Wednesday night because I was reading, and if I couldn’t focus on the book, I wouldn’t have to read anymore. I don’t so much no longer care about these characters as I sincerely want them all to die in a fire. And I’m in the unique position of being able to make that happen. But it seems like I shouldn’t?

Anyway. Here’s what does happen: Anita gets threatened in dreams by the First Evil, or the Queen of the Damned, or someone like that. The Mother of Night, there we go. Anyway, she’s the very first vampire, and she’s been waking up gradually for a few books now. And then later, Anita talks to a guy who was made a vampire by that one chick, and who might be the Arthurian Merlin instead of just a vampire with a similar name, and who is certainly the first dude in a long time that might be more powerful than our merry band of sex-starved heroes. Which might matter, except he wants to sign on with them instead of oppose them? I guess I just ruined the book, but if I can tell you every single plot event that occurred in only two-ish sentences, it may just be that someone else ruined the book first.

God! I can’t stop being pissed off about this!

And all the fucking horrible verbal tics! “That wonderful Gallic shrug that meant everything or nothing.” “[This or that sexual pecadillo] just flat did it for me.” The repetition between thought and action, along the lines of, say, someone asks a question, then our author types, “I didn’t know the answer to that. ‘I don’t know the answer to that,’ I said.” I mean, the first few and others that I thankfully can’t recall offhand, there’s no reason for you to read them and understand how, after a dozen books of the same phrases over and over again, I am boiling with fury at the memory. But that last repetition thing? Who is possibly allowed to write like that?!

Okay. Okay. I’m stopping now. Fuck!

Dead Witch Walking

I can’t even remember exactly why I picked the book up in the first place. Most likely, there was an internet discussion about which urban fantasies were worthwhile and why, and after the Harry Dresden and Anita Blake books[1], the Rachel Morgan series was the only one that struck my interest. Anyhow, between the amount of time I spend at various Half Price Books around the metroplex and the amount of depth on my to-read shelf[2], I can’t exactly be surprised that I’d bought five books into the series without ever having read the second sentence of Dead Witch Walking quite yet.

Mind you, I have now. It was not bad. There’s this girl Rachel, and she’s a witch. And she has a job capturing the bad elements of the magical world that humanity is stuck with, however unhappy it makes them. But when she decides to get out from under her boss’s oppressive thumb and go into business for herself, things quickly go from bloody to deadly. Soon, she’s caught between her old boss’s hired assassins, a potential and unwanted relationship with her vampire business partner, and a Cincinnati councilman / criminal overlord of unknown lineage and power. And that’s just for starters.

Okay, truth be told, I’m not sure I would have finished the book if I hadn’t already bought the next four. Our heroine took a while to get past whiny to likable. (Honestly, she may not have managed it yet, and it’s more that I got used to her voice finally, complainy-pants and all. She for damn sure isn’t as good to her friends as I would prefer.) The plot took a little while to quite get revved up from a simple problem to be solved into actually interesting events. Most troublesome was the setting, though; the average urban fantasy, in my still-limited experience, works as closely as possible to our normal world, with only limited variation to explain all the fairies and werewolves and ubiquitous vampires roaming the landscape. This one took a different tack, diverging in, I think, the 1960s; and what a divergence! Half the population or better dead in America, far worse elsewhere, and with all the magical people suddenly taking center stage by virtue of not having been susceptible to the deadliness. All of which is fine and good, except that the author kept dropping modern pop-culture references into the mix. It’s not that J.R. being shot or Luke learning about the Force are all that impossible even in a changed history. But when she tossed in another three of four such references that I’ve forgotten, it began to strain the bounds of reason. I don’t want to be yanked out of my suspension of disbelief over such trivial matters, is all; if you want to call the pop-culture, just don’t change your world around that much; that pretty much handles the problem right there.

But in the end, it turned out to be a decent book, and I have enough questions I care about that I will want to see what happens next. My hope is that someone mentioned the wonkiness to her, and I won’t run into these problems by the time book two comes around.

[1] about which I already know plenty
[2] Now officially overflowed, if not quite extending onto a second full shelf yet.

Death Masks

The awesome thing about reading a Dresden Files book is that I’m guaranteed it will be good, between the quality of the earlier entries in the series and the universal acclaim it has received among my friends who have read them. Plus, reading them spread out like this means I’ll still have new ones ahead of me for at least months, if not years. The downside is that it’s really hard to convince myself to read something else instead once I’m done with one. Like now!

Death Masks follows Harry Dresden[1] as he fights a new battle in the war between the White Council (of wizards, which Harry is one; but you probably knew that) and the Red Court (of vampires, which you may also have known, but not as certainly), a war that some on each side would claim he is single-handedly responsible for starting, himself included. But since that’s not enough action for one book, he also needs to track down the Shroud of Turin[2], wage war against some arch-demons in pursuit of the apocalypse, and sort out his relationship with Susan, former paranormal reporter and current semi-vampire. Plus, quips, a little bit of the inevitable-for-the-setting sexy, and slathered chunks of extreme danger! Read it now! Unless you need to read the earlier ones first, or something.

[1] So, the Dresden Files are among my favorite books, and the Dresden Dolls are among my favorite music. What is it about that little bombed-out German town that holds such massive appeal?
[2] Yes, that Shroud of Turin.

Fool Moon

I cannot decide if my love for the Harry Dresden books comes from their being objectively awesome, or from them being in such sharp contrast to the Anita Blake books. I mean, sex happens, but it’s dealt with tastefully, with soft-focus lensing and quick cut-aways, and far more importantly, it is not the constant focus of Harry’s regular magic-wielding, mystery-solving lifestyle. Which leaves him some time to think about wielding magic and solving mysteries. Is the prose with which he wields his magic, the world-building in which he solves his mysteries, the characterizations that come into play when he interacts with the other, er, characters really any better than most books I read? I’m going to guess that probably not, and yet I could grab the next three that I currently own and read them all in a row without getting the least bit tired of it. Um, unless the plot suddenly changes into a situation where he’s banging the vampire chick Bianca like a drum and his cop friend starts hating him and he wallows in angst by taking up with a werewolf pack? Don’t be sexy, Harry! It’s not worth it!

But also I guess there are some specifics about Fool Moon, which book is the one I just read? Werewolves, then. It turns out that there are about 5 different ways for a person to change into a wolf in Dresden’s world, and each of them with a different name. Which sounds like pretty extraneous information to have at my fingertips, except that someone with a lupine MO has been committing murders, and Harry has to figure out who and how so he can stop them from killing again! See, and I’m still not convinced why I should love these as much as I do. We’ll assume it’s not just by comparison, and go from there. I figure the two factors that the author really has working for him are multiple interesting characters (the cop chick, the mob guy, and the skull all leap to mind) and Dresden’s voice. I’m genuinely interested in everything that Harry Dresden has to say, so this first person narration thing is like the world’s best gravy on top of a mysterious chicken fried steak. The substantial food part may be really good, or it may be mediocre, but the gravy is so great that I have no way of knowing!

Storm Front

By right of expectation, this should be a graphic novel review. I’ve been pretty darn faithful about the alternating thing, and such. But then I went on vacation, in which there was a beach, and more importantly, an ocean. Also there were friends and children and laughing and a board game. And also, because I live inside myself so much and it’s worthwhile to reiterate the things that really affect me, on a bone-deep level, there was still an ocean. She had waves and a loud voice, and we had a friendly tussle in which she made sure to show me she could kill me at any moment without a thought, but that was only momentary and to demonstrate who was who; like I said, it was friendly. And just for me, flying in the face of all established knowledge on local weather patterns, she put a storm on the horizon.

If I wanted to get all cute and literary, I could use that as a segue into discussing the razor’s edge that Chicago wizard Harry Dresden lives on, between doing minor readings and finding lost objects for people and working freelance for the local police department on the stranger deaths, providing them with nudges of information here and there about things they don’t and couldn’t understand about the demonic underbelly of their world on one side of the razor, and on the other, that selfsame world of demons, black magic, monsters under far too many beds, and a council of wizards in charge of policing it all and keeping the bad guys at bay or even dead, which would probably make up for a lot of the badness if only they didn’t have reason to believe that Harry Dresden himself was one of those bad guys who they need to be poised to take care of after just a momentary magic-ethical lapse on his part. Magic is an ocean, I’d say, both wondrous and deadly by turns. Luckily, I have no interest in that kind of high-minded pandering to the gods of metaphor, and just wanted to mention what a great vacation I had, and how much I love the ocean and kind of need a permanent private beach that I could go to whenever I had the urge.

All that said, the image does have pretty good legs, especially when you consider that the incoming Storm Front is what marks Harry’s first real challenge. I mean, besides the ones in his mysterious and barely scratched past, of course. Also, ha, “pretty good legs” works really well when you consider that the book is all detective-noir, sheets of magical flame and summoned demons aside. (If I were a better, or at least more confident, writer, I’d have let that last image stand (ha!) on its own, without putting up the big neon sign pointing at it. But don’t look at me like that; you know you loved it.) So, anyway, there’s this guy, Harry Dresden, right? And he has a bleak past that won’t quite let go of him, and his job as a wizard slash consultant, and a friendly skull named Bob who helps him out sometimes, and relatively non-angsty problems with the ladies. And now he’s got himself caught up in a gang war, multiple homicides, magic drugs on the streets, police who are starting to have reason to suspect him as being complicit in some or all of these problems, and that bleak past isn’t really going anywhere, either. He’s more mature and less sex-obsessed, but it’s difficult at this early date not to find myself drawing comparisons to the Anita Blake series at its beginning. Rumor has it that they will ultimately find different directions to travel, which relieves me to no small end.

Also: I just realized I got caught up in my metaphor description of the vacation, and forgot to explain about the graphic novels. The thing is, I’m trying to take slightly better care of them than the only decent care I take of paperbacks, and bringing them all packed and luggaged and such to an ocean full of sand and water didn’t seem like a successful way to pursue that goal. Thusly, they were left at home. And now you know!

Cerulean Sins

I have now developed a formula for writing an Anita Blake, Vampire Hunter novel. First, come up with a supernatural crime. Next, come up with a supernatural political conflict. These may be but are not required to be intertwined. Next, write an opening chapter in which something related to Anita’s job as a zombie animator occurs. Be sure to include enough detail to seem interesting at the time, but not enough that it will be possible to remember what happened 400 pages later, because you’re certainly not going to reference the scene again for at least that long, and you want the sudden reintroduction of that dangling plothook to come as a total surprise when you get around to it. Okay, now that that’s out of the way, time to introduce the crime or politics in whatever order you prefer. As this is a latter-day Anita Blake story, you’ll also want to use these first hundred or so pages to include sexual activity; it may be angsty, but need not be as long as some sex somewhere within the story is. Now, in alternating intensity, the politics will overwhelm the crime and then the crime will overwhelm the politics, pushing Anita closer and closer to her mental, emotional, and often physical limits so that she’s tightly enough wound to snap in a satisfying way by the climax (heh) of the story. Also, be sure to reference how little sleep she is getting a few times. Bonus points if she takes comfort from her stuffed penguin. (Not like that! What’s wrong with you?!)

This is going pretty well. Be sure to have a couple of more sex scenes in this section. After all, it’s a mystical compulsion and now it’s possible to keep the fans from thinking she’s slutty, even if Anita does. (In fact, having her feel that way makes her all the more endearing; after all, it’s not her fault, right?) Time to wrap things up with a display of power and / or ingenuity from our heroine as well as a dramatic reveal that the information in the first chapter (remember that?) was intricately tied up with the supernatural crimes (and maybe with the political part as well, if you’re feeling especially bold). Close with a short taking-stock chapter in which Anita will reflect on how pretty much every major character in the book is miserable, but she hopes that they will improve with time. The end!

You would think, after the excrementality of Narcissus in Chains, that I would not have started another one of these so soon. (Or at all, you say? Ha. I have no choice in these matters. No choice!) And I probably would not have, but when I have just finished a book and am about to be on a plane, I find that I choose ease of use above other deciding factors. Thusly, Cerulean Sins. Which, thankfully, was far better than its predecessor. Sure, there are verbal tics that annoy me, but I’ve resigned myself to that. Sure, Anita keeps ratcheting up the bad-ass factor, but it’s that kind of series, so, fine, whatever. The important parts are that the sex stuff has ebbed back down to levels that are not actually reasonable but feel like they are by comparison and that the plot elements were paced appropriately and were interwoven well. Also, apparently our author is taking a longer view of the series now, because that mysterious dropped first chapter element stayed mostly dropped by the end of the book. Not in a way that indicates bad writing, even, just a lot moreso than I would have expected or which has ever occurred previously in the series.

Narcissus in Chains

61OauXqsD6LTo be clear, this is not the worst book I’ve ever read. It might well be the worst book I’ve ever finished, though. I’d try to make a case for the fact that I’ve been in a poor mood the last week or two, but the fact is, I hated it and nearly quit reading long before the mood started. If I was in jail on a deserted island and this was the only book available, I might have to renounce literacy. Let this be a warning to you.

The funny part is, I was praising the last book for being so much more on target than the couple before it. The way this was accomplished, I have since realized, was by taking our Anita out of her home turf, out of the range of her various boyfriends, and putting her somewhere completely different with a man with whom she has only a strictly professional relationship, and helping him solve a mystery. How did I realize this, you ask? By virtue of the fact that Narcissus in Chains is the exact opposite of that book in practically every way.

Anita returns home, ready (thanks to some unfortunate lessons learned in New Mexico) to come to terms with her relationships with vampire and werewolf, both emotionally and parapsychologically, I guess. (They share some kind of power between them, you see.) In the process of doing so, she discovers just how badly the things she has been ignoring in her life for the past six months have collapsed and goes about setting them right. Meanwhile, there are plenty of new players in town to create distractions and complications for all concerned. Plus, a little fraction of a mystery? Sort of? As has happened before, I’m willing to admit that everything tied up much more neatly than I had expected, in the last 40 pages or so. But that’s pretty cold comfort. It’s fine for Anita to not see the strings connecting everything together, but after enough times that I can’t as a reader, it starts to become an exercise in futility. I’m simply not paranoid enough for these books, I guess. All I know is, the mystery part seemed so backburnered that by the time the bad guy was revealed as having tried to kill Anita twice before, I had no idea who they were referring to, and couldn’t find any indication of it at a couple of earlier points in the book that I thought might be applicable. And then, sure, a few pages later, I figured out what they meant. But somehow, that seems like a pretty bad sign. This is all I’m saying.

Obsidian Butterfly

61fzp0DkFALApparently, I have read nine Anita Blake books over the past year and a half. That seems like kind of a lot, although the year and a half part brings it back down to reasonable levels. Here’s the awesome thing, though. For the first time in a little while, I really liked this one. In Obsidian Butterfly, Anita is called upon by her mysterious assassin friend, Edward, to join him in New Mexico for an old-fashioned creature hunt. They, a Native American bodyguard-for-hire, and a misogynistic German serial killer must all join forces with the local police and the Feds to track down a creature that is killing a lot of people, and skinning but leaving alive a lot of other people. Since Anita Blake’s bread-and-butter is killing the vampires, the demons, the forces of darkness… well, okay, that’s somebody else. But Anita does it too, generally speaking. If you’re unaware of her, she’s this book series chick who raises zombies to ask them questions, and sidelights as a legal vampire executioner, whenever they get too uppity and outside the law. And those skills translate into hunting down were-creatures, witches and other spellcasters, fairies, and all the other non-mythical creatures that inhabit her Earth and go rogue from time to time.

So of course I’d like that, except that lately the series has run to vamporn more than detective-y awesomeness. Which is what made this book so much better than lately. All of the ‘Who will I choose?’/’Getting my hump on is immoral, but he’s so dreamy!’/’Check out this awesome new power I have thanks to my ongoing relationships!’ stuff has been put on hold, to settle into an old-fashioned investigation and hunt. It’s possible that this reset to the early series values marks a Vampire Hunter renaissance, and I’m really going to like the next few books? It’s a nice thought.

Especially because the editing was atrocious, and having to deal with that in addition to lame storyline will make me very sad. The badness was due to repetition. If there’s one thing I really understand about this book, it’s which people have empty eyes signifying that their soul has eroded away. Because I was told about it on an average of once or twice per chapter, spread out among a very few number of characters. And this book has 60 or 70 chapters, just so we’re clear. But even worse than that are the moments when Anita monologues internally about her opinion on this person’s motives or that person’s effectiveness, and then speaks those thoughts aloud (presenting them almost exactly the same way she thought them) to some character or other that was in the room with her when she was thinking to herself, all on the same page. Speaking as someone who can maintain attention to the plot for longer than 90 seconds at a time, this was an exercise in pain. It’s possible that this speaks to just how much I enjoyed the plot, that I was only rolling my eyes at the prose rather than having it make me want to claw them out.

Burnt Offerings

I had this whole big plan, I remember distinctly. Stay away from the vampire nearly-porn stuff for a little while. Alternate between the stack of hardbacks and the stack of graphic novels, knock out several reviews in a reasonably short time as a result. And, okay, the last part is likely to occur, or at least no less likely. But the problem with being on a plane (aside from all the motherfucking snakes, I mean) and not checking any bags is that it’s not worth it to try to bring along an unwieldy and damageable graphic novel when you could bring along a cheap paperback instead. And so, regrettably, I have read another tale of the exploits of Anita Blake.

Regrettable is an easy word to throw around in this context. For one thing, the vampire porn classification is getting to be more overt with each one I read. On the inside, sure, obviously, but I’m talking about the covers. Time was, I could pretend like it was detective fiction that happened to include the undead, and all was well. But it’s just really obviously porn to even casual passersby at this point. My street cred, always a precarious proposition at best, is taking a real hit lately. And then (getting back to the book’s steamy innards) the porniness quotient, vampire and otherwise, has risen as steeply as I was afraid it would after the last one. If the descent continues, it will be a romance novel next time, and the one after that should have its own special section in the used bookstore where the children can’t reach it.

Here’s the bad news, though. The paragraphs above do not contain my largest complaint about Burnt Offerings. Sure, okay, I was able to buy into it when our heroine graduated from ‘able to raise zombies’ to full on necromancer, with power over all of the dead. And I thought it was kind of cool in the first few books when all of the loose ends came together in a couple of climactic chapters despite seeming a Gordian mess just pages before. But now the girl is getting into all kinds of ridiculous abilities that are simultaneously overpowered and nonsensical, and simultaneously the plots are starting to feel like Ms. Hamilton has a page limit that she’s accidentally bumping up against (perhaps due to all the new and delightful sex?), which causes her to wave her wand of plot resolution and end the book on a dime. Not a good dime, either, one of those buffalo wooden dimes that are fake and worthless in every way, and by the end of the stock show you just find them laying on the street because nobody cares enough to hold onto them. Hell, not even that good. We’re talking buffalo nickels, here, people.

Oh, in case you care, the plot was about the visit of the vampiric master council, who are apparently in charge of all things vampire? Only, I guess not really, since they’ve never been mentioned before and seem to have little or no influence in America, just the Old World. That, and a pyrokinetic is maybe setting some fires around town, so Anita should help with that, since… well, for some reason. Maybe necromancers can squirt a lot of…. while I was typing that, the thought took an unfortunate turn in my head, so I’m going to stop now. Later, in what I hope will be a large number of months from now, fear for me when I get around to reading the next one, if it’s anything like this. ‘Cause, wow.

Long Way Home

In retrospect, I’m glad I didn’t figure out how deeply flawed the final volume of that Buffy/Angel crossover series was until the last 50 pages or so. Because, I have this habit of not letting things go, however terrible, until I’m through with them, and it would have sucked to bitch to myself constantly for 300 pages instead of only 50. Seriously. There was this bowl of queso at lunch yesterday that tasted truly awful, but I kept re-tasting it because part of it reminded me of some other taste, and I couldn’t quite put my, er, tongue on it. Meanwhile, my co-diner was actually throwing up due to the chemical poisoning from whatever plastic thing had melted into the queso mix. I’d like to think that if she’d been throwing up before I kept re-tasting, that would have stopped me. I really, really would love to think that.

Sadly, that story was more metaphor than digression. There are good Buffy books out there, as much as any randomly farmed out novelisation franchise can have quality. This trilogy, as I’ve said basically from start to finish, does not reach that low watermark. The banter and adventure is, y’know, fine. The storyline, though, got just about as bad as it could have. The thing I figured out 50 pages from the end is that they had no possible way to satisfactorily conclude the story. I was wrong in that, and I admit it; they wrapped up without taking any cheap shortcuts as I expected. No, I spotted the real problem after the fact, which was that it should have been those 50 pages all along, and that the 250 previous pages were nothing but an artificially induced delay to make it long enough to be a trilogy, since that’s what the authors had promised to their bookfarm foreman.

My point being, Long Way Home is easily the worst-plotted book of a pretty bad trilogy, in which the first volume failed to deliver on even a freaking crossover. There’s a Batman book I read in my middle youth, in which someone decided to write a polemic decrying the child sex trade (a topic which until that moment had been mostly the subject of widespread praise, I’m sure) and thought that it might be fun to have Batman involved. This trilogy is like that, except about urban gang warfare or possibly the Soviet bloc. Buffy and Angel are about as poorly shoehorned into the plot here as Batman was in The Ultimate Evil. Credit where it’s due, though: regardless of how bad a fit Batman was in that story, at least the story itself made a lick of sense. This one, not so much.