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hawkwing_lbBooks 2012: 76-78
76. Faith Hunter, Blood Cross. (Roc, 2010.)
Not terrible urban fantasy with moderately engaging characters and setting. Faint praise, I know, but the vampires-and-[insert therianthropic people here] subgenre is so ubiquitous these days, a book has to have a really engaging voice or premise to get more from me than that.
77. Kari Sperring, Living With Ghosts. (DAW, 2009.)
Mmm. And also, hmmm. This is a well-written and solidly-characterised book that somehow, strangely, feels more like the conclusion to a trilogy than a standalone novel. It has a very 18th century sensibility and is delightfully egalitarian in matters of gender, but I don't feel that it quite comes together as a cohesive whole - which is, of course, a debut-novel problem in general.
nonfiction
78. Joanna Russ, To Write Like A Woman: Essays in Feminism and Science Fiction. (Indiana University Press, Bloomington and Indianapolis, 1995.)
A marvellously lucid collection of critical essays. I have a braincrush. And feelings of decided inferiority.
So, Mass Effect 3.
It was properly rich and layered, and Bioware put a lot of heart and thought into the "Let's bring everyone with whom Shepard has an emotional connection from previous games into the frame," element of things. A lot of the things that Marie Brennan says in this SF Novelists column about "the novelty of a woman being the most important damn person in the world" applies.
But that ending? As I said in a comment, IT DOES NOT EXIST AND WE SHALL NEVER SPEAK OF IT AGAIN.
Ahem.
Somewhere in the alternate universe ending, Tali and Garrus are having awkward sexytimes on that beach, and Jack is teaching junior biotics how to curse. (Otherwise, the failwhale. It just beached itself slimily in Bioware's offices.)
See also Brit Mandelo and Chuck Wendig.
76. Faith Hunter, Blood Cross. (Roc, 2010.)
Not terrible urban fantasy with moderately engaging characters and setting. Faint praise, I know, but the vampires-and-[insert therianthropic people here] subgenre is so ubiquitous these days, a book has to have a really engaging voice or premise to get more from me than that.
77. Kari Sperring, Living With Ghosts. (DAW, 2009.)
Mmm. And also, hmmm. This is a well-written and solidly-characterised book that somehow, strangely, feels more like the conclusion to a trilogy than a standalone novel. It has a very 18th century sensibility and is delightfully egalitarian in matters of gender, but I don't feel that it quite comes together as a cohesive whole - which is, of course, a debut-novel problem in general.
nonfiction
78. Joanna Russ, To Write Like A Woman: Essays in Feminism and Science Fiction. (Indiana University Press, Bloomington and Indianapolis, 1995.)
A marvellously lucid collection of critical essays. I have a braincrush. And feelings of decided inferiority.
So, Mass Effect 3.
It was properly rich and layered, and Bioware put a lot of heart and thought into the "Let's bring everyone with whom Shepard has an emotional connection from previous games into the frame," element of things. A lot of the things that Marie Brennan says in this SF Novelists column about "the novelty of a woman being the most important damn person in the world" applies.
But that ending? As I said in a comment, IT DOES NOT EXIST AND WE SHALL NEVER SPEAK OF IT AGAIN.
Ahem.
Somewhere in the alternate universe ending, Tali and Garrus are having awkward sexytimes on that beach, and Jack is teaching junior biotics how to curse. (Otherwise, the failwhale. It just beached itself slimily in Bioware's offices.)
See also Brit Mandelo and Chuck Wendig.
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Date: 2012-05-21 05:51 pm (UTC)no subject
Date: 2012-05-21 07:21 pm (UTC)