Category: urban fantasy


So, it took a little longer than to the end of the night. But , it turns out I had a bit more to say than I’d thought. Worse things have happened. I spent two weeks tracking down a copy of the second book in this series, here is Sarah Kuhn’s Heroine Complex. Enjoy!

Heroine Complex cover

Aveda Jupiter is San Francisco’s super heroine, stopping demonic invasions as they crop up throughout the city. She’s brilliant at it and fantastic with the crowds. Unfortunately she’s also brilliantly difficult to work with, at least for anyone except her assistant Evie Tanaka. Unfortunately for Evie posing as Aveda Jupiter, being her while the real Aveda is out of commission, is much more difficult than just working for her. Stopping the incoming demonic invasion might just be easy by comparison.

Sarah Kuhn’s Heroine Complex was a total impulse pick for me while I was visiting my folks awhile back. The cover was cool and the blurb sounded fun. It kind of reminded me of some of the stuff I read back in high school. Plus, I just like the concept of the sidekick having to take on super hero level stuff and, through that, becoming a hero in her own right.

I liked Evie a lot, she opens up as the book progresses and lets herself have her feelings instead of keeping them locked back. Evie starts out so afraid of her feelings, afraid of what could happen if she felt strongly enough to trigger her powers. She’s afraid of the damage she could do if she lost control again. But then she’s forced to play the hero and the love interest is brought in and her feelings for him grow. She learns to not be afraid of them or of herself, which is a plot line that I enjoy greatly. It feeds into that character coming into her own, thing that I tend to enjoy so much.

I do wish less had been as reliant on the love interest, Nate, as it felt like it was. The book starts with Evie and Nate being almost at odds. He’s this big grump who serves as the team’s physician and demon researcher, he doesn’t do his share of chores around the HQ, and he’s inflexible in his methods. At least until Evie as Aveda needs a body guard/date to an event and it’s revealed that he looks really good in a suit. Then long moments are given over to Evie and Nate having couple moments and he becomes Evie’s rock. It interrupts the story and, since I’m not really here for the romance, drags more than a little. Admittedly, my issues here are almost entirely to do with how much page space the romance takes up rather than with Nate himself. He’s a solid character and it was nice to see him come out of his shell a little as he and Evie got closer.

The romance was mentioned in the blurb, so I expected it, but it felt fairly sudden and out of nowhere.  They were at odds and then they weren’t. He was an off putting grump and then he wasn’t. The turnaround is fast and I find myself wishing that there had been more of a slow burn thing going on. I also find myself wishing that it had eaten less of the page count just on its own, that more had been done make it feel like a break from the plot that gave Evie a much needed break from being something she wasn’t. It could have given a great view into her growth rather than feeling like the reason for it. This is one of the things that reminds me a lot of the stuff I was reading a decade ago and it’s the only bit I feel like I could have done without.

The flipside to the romance, something that I really enjoyed quite a bit, was Evie’s history with Aveda. This friendship that they’d had since they were grade schoolers that had kept solid for years and years through being social outsiders and the initial demon portal, through Evie’s power erupting horribly and Annie’s rise to super heroism and reinvention as Aveda Jupiter. It’s a friendship that’s gone a bit sour with Aveda’s whole super heroine diva thing and the way she tends to steamroll Evie’s thoughts and feelings on issues. Evie’s there to deal with Aveda’s temper tantrums and to guide her into better moods when things aren’t going her way, but then there doesn’t seem to be a ton she gets out of it aside from a pay check and fulfilling a sense of loyalty to her oldest friend. It was nice to see that have to change as Evie continued to stand in for Aveda and the public loved her and her power. It was nice to see how their relationship changed and strengthened as the plot rolled on.

That’s really where I land on this one. Heroine Complex was a fun nostalgic read for me. The characters were awesome and, while I could have done with less of the romance aspect, I’m definitely reading the other two books in the series. I want to spend more time with these characters, to see them grow and continue to come into their own. I want to see what Sarah Kuhn does going forward and how a world with demon portals and super heroines continues to develop. I’m giving Heroine Complex a four out of five and noting that the second book is already on my desk waiting for its chance to be read.

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This was later than planned, still working on fixing that. I’ve been looking forward to this one for a long time. Thanks to  James Aquilone, here is Dead Jack and the Soul Catcher. Enjoy!

Dead Jack and the Soul Catcher cover

Dead Jack, the best zombie detective in Shadow Shade, saved Pandemonium from certain destruction. It was totally him. The cost was high though, Oswald hasn’t woken up since her took the blast from the Pandemonium Device exploding. Without Oswald there Jack’s fallen off the wagon, spending his days in a haze of dust and Devil Boy. He hasn’t had a case in weeks. Lucky for Jack an old army buddy from his living days, Garry, has tracked him down with the promise of finding their souls. Just, get someone to translate the diary Garry stole, find the alchemist who has their souls, and dodge the neo-Nazis that want to use his sidekick to wipe out Pandemonium. Nothing difficult for the best zombie detective in Shadow Shade. Right?

Dead Jack and the Soul Catcher follows a book that I enjoyed a great deal, removes a big chunk of what I liked about it, and still leaves me waiting for the next book. The last book gave us a noir style detective with all the tropes associated, but then never tried to make him right or to present his behavior as correct. Dead Jack is a massive jerk, and that’s great because he gets called on it. Here though, Oswald is out of the picture so that element of humanization is absent. Instead we get more of Dead Jack the character instead of Dead Jack the plot device, we get into his history as he’s forced to deal with feelings and memories and a lot of things that he generally doesn’t.

A lot of Jack’s memories tie into his time in World War 2, particularly dealing with his death and the horrific experiments visited upon him. The way he became Dead Jack. This works pretty fantastically to show the reader more about the man Jack had been, especially when that man and the zombie we know don’t line up quite right. That’s a fantastic draw for me. Tie it in with Dead Jack seeming to soften up to his companions a little and I’m excited to see where his characterization goes from here.

Now, the group of neo-Nazis who had been experimenting on him follow Garry into the story. They’re after the diary and him again, but more than that, they want Oswald as part of a plan to steal all the souls in Pandemonium. They are the biggest threat of the book, bigger than dark elf prison guards or giant spiders or the devil himself. They have the ability to potentially bring Pandemonium to its knees. They’re weirdly obsessed with their uniforms and how nice they are. The book manages to strike a balance between making it clear that they’re fanboys for the original Nazis and that that is ridiculous and making it clear that they are an actual threat to Pandemonium and very dangerous. It also makes it incredibly satisfying when they get punched.

Much like Dead Jack and the Pandemonium Device this isn’t a super serious book and it plays with familiar tropes. I enjoy it all the more for that. This was a fun read, it maintains the quality of the first book, and it leaves me impatient for the next one. So, yeah, Dead Jack and the Soul Catcher gets a five out of five. If James Aquilone keeps this up he’s going to wind up one of my favorite authors.

I’m later than I meant to be. After spending the first half of the week stressing out and not getting anything done I kind of crashed yesterday and got even more nothing done. I also hit PM instead of AM scheduling it, which it A+. But I’m back now, so it’s all good. This one is thanks to the awesome folks at Curiosity Quills Press. This is Sarah Madsen’s Weaver’s Folly. Enjoy!

Weavers Folly cover

A run gone bad leaves elven thief Alyssa D’Yaragen, Lysistrata when she’s on a run, with a fantastic opportunity. All she has to do is work with the guy who made the last run go bad for her and steal some data from a company. A super high profile mega corporation , Americorp, whose security is guaranteed to give both of them more than a run for their money, but still. The pay and challenge are way too good to pass up. Complicating things somewhat her ex, Tristan, shows up begging forgiveness and offering a too good to be true opportunity for information gathering. More complicated even than a cheating ex are the sparks that fly when she meets gorgeous Seraphina Dubhan, feelings and all that. When she becomes the target of magical attacks any other concerns have to take a back seat to keeping her friends out of the cross fire and surviving. Surviving and, of course, getting the Americorp job done.

I initially found myself comparing Sarah Madsen’s Weaver’s Folly to a number of things, mostly Shadowrun. The whole protagonist is a highly specialized thief in a world with both magic and cyber punk style tech is what does it I think. Magic and technology not working together is also a similarity, but I feel like that is a sort of ground rule thing. You don’t want to give a character supercharged magic powers and a cybernetic body to keep them from getting worn out using them, so it’s a functional limiter in the world of the story.

I like that a lot actually. It separates the main character from a near necessary set of tools and forces her to rely on other characters, particularly Logan.  It also gives her an edge that most other characters simply can’t access while forcing her to keep it a secret. I feel like more weight could be given to the secrecy aspect later in the series, but it does make a degree of sense. I feel like this would go hand in hand with more focus being brought in on the elven aspect of the magic, or the elven aspect of Alyssa.

The characters interest me more than the magic though. There are a few places where the interactions are a bit stiff, but most of those feel like they’re meant to be a little awkward. I like most of the characters and enjoyed seeing Alyssa and Logan working together. I wanted to see more of Alyssa’s roommate and more of Seraphina, the mysterious woman Alyssa winds up crushing on. Alyssa herself has an interesting thing going on with regard to where she belongs between Arcadia and Atlanta. She has people she cares about in both places and both places are part of her. It was interesting to see her think on that some.

Weaver’s Folly feels like a first book in a couple of ways. This is largely due to some clunky exposition early on, a couple of things get explained in a block immediately upon being brought up rather than later where they would have flowed better. The bit with light elves, like Alyssa, and dark elves historically hating each other was a particularly jarring example. I would have liked to have seen more on that throughout, since it seems like it should be important in later books.

That kind of ties into my other issue, there’s this prophecy early on that comes back up a couple of times and it feels like it should tie really heavily into one of the antagonists. It feels like it should but the support for that connection isn’t there, just boom here’s an antagonist. This was really frustrating for me for a lot of reasons, but a lot of it boils down to looking back and seeing places where foreshadowing might have been attempted but wasn’t done well enough or consistently enough to add up to anything. It wound up feeling like it had been shoved in at the end to lead into the next book.

The thing at the end affected my reading of the book more than anything else. Stumbles are an expected thing in the first book in a series. But I flat don’t like it when the end of a book feels like the prologue to the next. That said, there’s enough that Madsen did well in Weaver’s Folly that I was already planning on reading the next one when it comes out. I liked her characters and would have liked to have seen more of them. The separation between cyber punk Atlanta and deeply magical Arcadia is fascinating to me. I’m curious about the specifics of how magic works here. The whole of the book leaves me wanting more and for that, Weaver’s Folly gets a four out of five.

Mad Cat Franz and the Bomb cover

For me there has always been something a little weird about books. That someone you’ve never met, who may even be long dead, had an idea for a character, a place, a scene, a story form in their mind and translated it into lines of squiggles on pieces of paper. Years later you come along and pick up those pieces of paper and decipher the squiggles and in your mind the images re-form. You may say, well duh-huh stupid, that’s writing and reading! This I know, but there still seems a little magic involved.

Personally, an idea for a novel can quite literally trigger from anything at all. Something seen, heard, read, an event, a feeling experienced, a comment, a joke, an injustice particularly, a silly fact, a conversation overheard. There’s no end to the list really. Also this trigger can provide the missing links to let you chain together any number of ideas you’ve been carrying around for some time into a workable synopsis.

The idea-spark for my latest novel Mad Cat, Franz and the Bomb came from a quip, too vulgar to repeat here, made by a good friend of mine when he deranged a line from the musical Oklahoma. For some bizarre reason it combined with an image I’d had in my head for years that goes like this.

It’s a beautiful summer day and you’re sat at the beach gazing at a calm sea when you notice something moving in the water close in front of you. As you watch, the surface of the water is broken by the top of a blond head, a forehead appears, eyes, a face, shoulders until the figure of a German World War Two pilot in uniform steadily walks up out of the water bone dry. The beach is crowded but no one else sees him. Only you.

In the novel the ‘you’ concerned is a teenage girl, Catherine McEvoy, also known to one and all in the small seaside town as Mad Cat because as a young child she insisted she had three invisible friends who tormented her horribly. Franz is the German pilot and the Bomb in question, which maybe real or not, is used as a metaphor for what is happening to Cat.

The other main characters are two retired gay actors, Teddy and Perry, who are as good as family to Cat. Perry is calm and loving while Teddy is profane and raucous and also, in the story, dying. That these characters are polar opposites allows for the injection of humour at regular intervals to prevent the story becoming too sad or introverted. This wasn’t a conscious, contrived device on my part as the two characters occurred naturally alongside the initial idea, but I did find I enjoyed them as I wrote their scenes and so their interjections became more frequent as the story unfolded.

The world building for the novel was relatively easy given the geographical setting of the story. We’re all familiar with such small, seaside towns and the one I describe is an amalgam of a few I am familiar with. The houses and rooms are imagined to reflect the characters who live in them and are assembled with as much of an eye for detail as possible to try to bring them alive. It wasn’t as if I had to envisage a dystopian future world and I admire writers who are capable of that type of imagination.

I read somewhere Stephen King will sometimes begin writing a novel or short story with no idea how it will end and just let it continue not knowing where it will take him. Just writes. Amazing. Being a mere mortal and old school in comparison, as soon as I get the initial story idea I pretty much know most of the beginning and always the ending and much of the arc leading from one to the other, though as the story develops it can go off at tangents I hadn’t originally thought of at all.

This being in many ways three stories woven and linked together around the central character Cat, made keeping the events and scenes in the arc fluent a little complicated, rather like juggling at times. Also there was quite a bit of historical research involved which can be laborious but it does sometimes uncover unthought-of pearls that enrich the story. I shouldn’t say this but it also looks like you know what you’re talking about!

And as for characters, well, they can cause a real problem. I’m lucky in that they mostly come fully formed right down to the sound of their voice and their clothes  and once they are realised they are fixed as firmly as something ghastly you’ve seen and can’t un-see. Some very occasionally require a little polishing to make them, hopefully, memorable for the reader.

The problem being invariably when writing, other characters will appear which are great but ultimately not right for the particular story and so you have to, as Faulkner says, “…kill all your darlings.” That can be a tough call sometimes to know if it is the right decision or not and the upshot is you end up with a disgruntled mob in the back of your mind grumpily waiting to be employed in their own yarn. Likewise a scene you’ve written can be really on the money but it jars in the context of the overall story. You read and re-read looking for any excuse to include it but eventually and however reluctantly, you admit it just has to go.

Mad Cat, Franz and the Bomb is in essence a ghost story and the three invisible friends who torment Cat as a child I saw as perhaps, the horrid spirits of Victorian children who once inhabited the house where she lives. The concept of invisible friends is interesting to me too in that, in young children they are tolerated but in adults it’s labelled as delusionary or schizophrenia, which is something I explore in the story too. So are they real or is Cat indeed going mad as everyone believes?

Author Picture

Bio of Tony McAndrew:

Having what little education thrashed into him by nuns at the convent caned out of him by grammar school, Tony kept a promise to himself to begin writing when he finished doing tedious stuff like working full time. After a wander through psychiatric nursing, the Met Police and almost thirty years as a frontline paramedic the time seemed about right. He still works now and again in Primary Care somewhere in Wales and lives happily on the Gower indulging in writing, reading, talking with friends, drinking beer and floating in the sea with his wife.

After a pause over the weekend I’m ready to get back into it. This one is thanks to the awesome folks at First Second, here’s Antoine Revoy’s Animus. Enjoy!

Animus cover

There’s a strange playground tucked away in a quiet neighborhood. The swings see into dreams and the concrete animals hear all within the park. When they accidentally stay past sundown, friends Hisao and Sayuri meet the park’s resident ghost. He knows all about the magic of the playground but can’t remember his own fate. When their friend is injured finding out what happened to Toothless might be the only way to save him. They’ll have to bring Toothless’ story and remains to light with nothing to go on but a handful of vague memories.

I find Antoine Revoy’s Animus frustrating. The concept is fantastic and I am, repeatedly admittedly, a sucker for a good ghost story. The idea of a playground haunted by a dead child, his trapped spirit anchoring magic to the playground itself, is fantastic. The protagonists needing to break his curse to save their friend is great. But then the end falls apart and everything feels like lead up to skipped side plots.

There is a lot going on in Animus, and it all feels like it should add up to something. The police superintendent is shown talking about the missing kids a couple of times. There’s whatever connection is between Toothless and the playground. And there’s the maybe saving their friend by saving Toothless. But then it feels very much like our friendly ghost is up to something nefarious. Like he isn’t on the up and up where the hurt friend is concerned. But the connective tissue isn’t there.

There are hints at maybe things and a second or third read paying close attention will offer some connections, but it isn’t anything solid. Things never tie up neatly or otherwise and I found myself with more questions at the end of the book than I had to start with. Not in a fun way that leaves me hoping for a sequel either. I felt like Revoy forgot to include half of his story or got bored part way through writing it and spun up an ending so that he could get to the art.

The art is pretty fantastic though, especially the backgrounds. There is a section with a bridge and the forest around it that is absolutely gorgeous. The art for the human characters isn’t as great, but I feel like that is more for effect than an issue with Revoy’s skill. The faces are a sort of cartoony but in a way that feels like an exaggeration of life rather than a simplification of it. That lends itself really well to moments of uncanny creepiness.

My issue with Animus comes entirely from how rushed the ending feels. There are things that happen that aren’t adequately set up or that are only hinted at in such a way that the payoff for them feels really weak. Again, I’m left with more questions than answers on this one, which is unfortunate because if more time had been taken to work things into the story everything that bothered me about the end could have been awesome pay offs for character work. This could have been a really cool first book in a series with side plots digging into the characters and what makes them tick, but instead it winds up being a lot of build up to a nothing ending.

I keep coming back to that, like a missing tooth or a scab, Animus could have been really good with a little more work put into it. It could have been but, as it stands, it’s a five star start with a one star follow up. I would check out something else by Antoine Revoy, but it would definitely be a library borrow. That lands Animus with a three out of five.

It occurred to me today that I hadn’t posted this yet. I admit, I’m a little sad that this is the last one for now. Maybe there will be another arc or the start of an ongoing after the Crossing Over event in the classic Ghostbusters comic. What Dreams May Come was a pretty awesome story though, so I can hope. Here’s the last one for now, enjoy!

Issue 5 What Dreams May Come cover

After being consumed by their fears and fighting them back, solutions failing and answers being found, this is the final confrontation. The Ghostbusters have their shared memory and a plan in place to stop the Schreckgespenst. Will it be enough or will Dr. Kruger trap the world in his nightmare dimension?

This is where we’ve hit the final confrontation, the boss fight, the last effort before the world is doomed where our heroines triumph. It’s also the big test for the neural connections that should, in addition to the shared memory, allow them to find each other in the nightmare world. Let’s dig in.

We jump right into the fight with the Ghostbusters fighting Dr. Kruger and then activating the neural connection. Things go wrong almost immediately with the team not being able to keep together. I feel like that does a really good thing with one of the issues I had had in the last issue. We start with Erin left alone with her nightmares, but then she’s able to focus on Abby and reach her and together they get to the shared memory. Patty on the other hand finds the shared memory no problem, it’s set in a historic site that’s Patty’s thing, but she’s alone. She couldn’t hold on to the others well enough to get to both. That, for me, is brilliant. Erin and Abby had known each other for years before Erin ran off, so it makes sense that it would be easier for them to lock on to each other. Patty only met anyone in the team during the Rowan incident, so she doesn’t have as long a connection or maybe not as many points of connection with them.

The art here is great, as it has been for the entire arc. I want to see more of Corin Howell’s work because of this comic. Her expressions in particular are awesome and the Schrekgespenst couldn’t have been much more awesome. The same goes for Valentina Pinto’s work on the colors. The art is awesome, but it wouldn’t be nearly as dynamic without the color work to punch up the mood.

Admittedly, what I really want is more of this team on this comic. This was a fantastic way to tie up the arc and the way Dr. Kruger was defeated was a great example of the character work that I’ve enjoyed throughout the run. So, yeah, Ghostbusters: Answer the Call: What Dreams May Come issue five gets a five out of five. And I really hope that question mark at the end means more is on its way.

I’ve gotten the chance to review a number of Seanan McGuire’s book now and I’ve enjoyed them all. So, of course I was excited to see Sparrow Hill Road on netGalley, even more so when I was OKed to review it. This is one of those books that I had been meaning to read and meaning to read. Bonus in that the second book is coming out soon. Enjoy!

Sparrow Hill Road cover

Rose Marshall is sixteen and running from the man who ran her off the road. She’s been sixteen and on the run since prom night. Since she’d made a rash decision while angry. Since 1952 when she took the keys to her brother’s car and the short cut on Sparrow Hill Road to look for her boyfriend.  Bobby Cross is still hunting her, trying to catch the one that got away and feed his immortality a little longer.  He won’t stop until he catches up to her. But at least he can’t kill someone who’s already dead.

Seanan McGuire’s Sparrow Hill Road is interesting to me in a lot of ways. It started out as a set of twelve short stories published across a year. Those stories were well received enough to be reworked a little and republished as a novel. That, to me, is all kinds of awesome. Then you jump into Sparrow Hill Road being a ghost’s story rather than a ghost story. It’s Rose’s story to tell and she’s well aware of a lot of the folk lore surrounding her and those like her. I actually have a little trouble talking about this one because of how much I enjoyed it.

This isn’t a settled book by any means. It roams from decade to decade and coast to coast, from living to dead and back again. The characters likewise never seem to settle. Weather that means the phantom driver who spends his afterlife racing the road he died on or the route witches whose magic is called from driving and the road itself. Pauses are brief and stopping or being stopped always seems to carry a risk. That doesn’t mean that the book moves at a breakneck pace throughout its run, Ms. McGuire does a fantastic job with her pacing here. It never felt like I needed to pause and reread something to understand what was going on. It also never felt like the book was dragged down by over explaining things.

Rose’s ability to borrow life from a willingly offered piece of outer ware is fascinating to me, likewise the rule that she can enjoy food and drink only if it’s willingly offered by a living being. Both serve to allow her to, temporarily at least, experience the parts of living that she’d enjoyed and interact with normal people as though she were one of them. It also serves to limit Rose. She can only borrow life until the sun comes up so she’s a ghost, cold and insubstantial, during the day and any food she eats that isn’t willingly offered tastes of ash. The aspect of Rose having chosen to guide the dead is also an interesting one. It isn’t something she’s bound to, at least not beyond feeling a sort of responsibility for the newly dead. It’s something she doesn’t always want to do and, in fact, something of a mirror to her habit of trying to help drivers avoid their deaths. Of course, both of those choices lead to her being seen around horrific traffic accidents and being blamed as a result.

That feels like sort of a running thing through the book, people act without knowing the full story. It happens with Rose, with the story of the pretty dead girl up on Sparrow Hill Road and all the people she’s supposedly killed. It happens with a number of the characters introduced within each section of the book, they react to the bits they know but act before digging further. They jump to conclusions while angry or confused and go based on their impressions. It’s a sort of humanizing thing that allows for a lot of the conflict in the book without it feeling like it was just thrown in.

Speaking of conflict, if there’s a bit that didn’t entirely work for me it winds up being Bobby Cross himself. This goes back to Sparrow Hill Road having originally been a set of short stories. Bobby Cross feels like a week antagonist, largely because he doesn’t have much to do early on. He’s the one who killed Rose. He wants to finish the job. Not has to, wants to. But for a lot of the book’s run it doesn’t feel like he’s a threat. The antagonists from other sections tend to be more present, likely because that’s their moment while Bobby is running a long game. When he’s effective, he’s great but when he’s not he just sort of feels like a disposable villain of the week.

I started writing this review knowing that I was going to give it a five out of five. I enjoyed it enough to not really know how to write about it without just throwing words for pages on end. Even now there are bits that I want to go back and add more thoughts on. I think I’ve come to a decent place to end this though. Sparrow Hill Road is well worth the read and I’m super excited for the next one.

I’m really going to need to learn not to announce things before they’re ready to roll. My computer messed up and wouldn’t work, I think I’ve got it working mostly right again but it took a while to get it going again. In any case, this one’s thanks to the awesome folks at Curiosity Quill Press. Here’s Anne Stinnett’s Creature of the Night. Enjoy!

Creature of the Night cover

It’s TV’s most scandelous phenomenon. Fantastic vampire judges. Roaring crowds jumping at the bit to see contestants fail. Blood and glamour in equal measure.  It’s a chance at eternity for one lucky contestant, and the risk of death for the other eleven, the new season of Creature of the Night promises to be a bloody good time for the viewing public.

Anne Stinnett’s Creature of the Night is a book that I really wanted to like just based on its concept. The whole vampire game show thing where the winner becomes a vampire is kind of awesome and something I’m a little surprised I haven’t found in other urban fantasy novels. Supernatural beings using their being supernatural to grab a wide and adoring audience, or being used to do that, seems like it would be more of a thing. The idea that people not only go wild over this but blood thirsty, mocking failed competitors and camping out wild is interesting and feels like it could say a lot about the culture surrounding celebrity culture. The problem comes when it didn’t seem interested enough in the characters or world to really pull that off.

Let’s talk about that potential though, because I really do think that something like Creature of the Night could do a lot of interesting things with urban fantasy. The ingredients are all there.  The masquerade was broken, so people know that vampires are real. More than that, the television viewing public not only loves them but loves seeing people risk their lives to become vampires. It almost seems like they have the world enthralled. But there’s a limit to how many people can be turned legally, which leads to the show being billed as a sort of way to find “worthy” people to be turned. This makes me wish that we could have seen more of the world beyond the show, possibly through more time in the mansion or more time with the viewers at home. Just something more away from the show challenges themselves so that we get more of the back ground.

That’s sort of a running thing in Creature of the Night, that sort of need for more details outside of the competition itself. The back story for the world is mentioned and teased, but in a way that becomes distracting rather than informative. It’s the same with the protests over certain aspects of vampires interacting with humans, they’re mentioned and it is part of a couple of characters back stories, but they don’t really do anything for the story. It would almost be better, if we were looking to keep the length of the book about the same, to drop the world building hints entirely and allow the reader to make their own assumptions about how this all came about, then use the space from dropping that to develop the characters more.

It’s sort of a thing I think I can see what Stinnett was doing with the characters, this being a horror comedy and all, but she left her characters really flat. They were sort of horror movie cliché sketches of characters rather than being full on developed, which made it really difficult to care what happened to any of them. This ties heavily into my thing about wanting more page time away from the show challenges. While the challenges are largely interesting they also feel big and sensationalistic. They show the characters as competitors but not as people. The between challenge chapters do some character interactions, but they’re also taken up with the in book show’s confessional sequences where the characters talk about the challenges and other competitors and whatnot. What makes this a little strange, is that it’s clear that changes are happening with some of the characters but we don’t see much of them as they change, possibly because the show lasts at most a week. Plus the confessional bits often have characters returning to type, rather than reflecting any sort of development.

At the end of it, Creature of the Night feels very like the novelization of a B movie that doesn’t exist. The characters have little to no presence. It’s often violent or gross for the sake of shock factor for a fictional audience. Cutaways to the audience at home or the judges can be interesting, but usually feel like padding. All in all, it would work a lot better on film than page. I wasn’t a fan of this book and I think I would wait to check out the reviews on any other books Anne Stinnett writes, but I would be willing to read her again. It’s mostly because of that that Creature of the Night gets a three out of five.

Ah, this is finally going up. I feel like I’ve been sitting on this for years and it’s a little ridiculous. I’m going to see if I can get the Crossing Over issue one review posted today or tomorrow as well. We’ll see how that goes, either way, enjoy!

Issue 4 What Dreams May Come cover

So, we’re into the fourth issue of What Dreams May Come and it’s leading into how exactly the Ghostbusters are going to stop whatever Schrecky’s up to. They need a big shared memory, something kind of traumatizing, and a little bit buried. So it can’t be Rowan’s apocalypse, that’s too new. Something shared and buried though, Erin and Abby might have that, Abby and Holtz might, but not all four of them. Right?

This is the first one that I have something of an issue with. The shared memory that the issue centers around is entertaining but it is kind of too easy feeling.  It feels too convenient, which sort of make sense this is the second to last issue in the arc so they do need to tie things up. But it seems to contradict Erin and Abby having grown up in Michigan. Plus, I find myself way more interested in Holtzmann’s nightmare/breakfast machine and just how inserting memories into Abby’s head made her love soup so much. I do hope we see more of that in the future.

I like the idea that the buried connection that the memory makes could allow the Ghostbusters to find each other in Kreuger’s nightmare space and avoid him enough to fight back. That said, I wish there was time left for the buried connections to be separated between the characters rather than one big inciting incident. Without that I find myself wondering just what kind of memory Holtzmann would have used and how implanting a memory would even work.

That said, I’m still excited to see how this ends, the final confrontation with Dr. Kreuger is bound to be awesome and I’m all for it. The art remains awesome, the designs for the younger versions of the Ghostbusters were solid and I continue to be super impressed by how expressive the art is.

It feels like I got really repetitive on this one, and I know I was a little hard on the thing I wasn’t a fan of. I know that’s in large part because I want to see this keep going and I’m kind of worry nitpicking and being picky about background stuff.  That said, I did still have a ton of fun reading this one, so I’m giving Ghostbusters: Answer the Call: What Dreams May Come issue 4 a four out of five.

I’m going to get back to schedule at some point. It might be the point where I’ve caught up with my to read list, but someday it’s going to happen. This one was a wish granted by netGalley. Here’s Jeff Noon’s The Body Library. Enjoy!

The Body Library cover

In a city where everything is stories and stories are everything, what happens when the plot shifts a little? When an infection of ideas has the potential to overturn the balance of fictional how strange can a murder case be? How strange can anything be when words flow just under the skin? It a city where stories are everything and everything is stories, what do a dead man’s whispers mean? Once upon a time a man called Nyquist followed a job right into trouble.

The Body Library is, in more ways than anything else, a story about stories. Yes, it’s still a detective story and there is still a case to be solved, but neither of those feel like the core of the book. I’m not sure that Jeff Noon meant for the mystery bits  to be as overshadowed by the story about a story bits, I haven’t read the previous Nyquist novel so this may just be part of his writing style. The nature of the book also makes it somewhat hard to dig into without spoiling it, so this one might be a little thin on details.

A big part of the story here is focused in on Melville 5, an abandoned apartment building and home to all manner of strange folk. More importantly, it’s something of a flux zone where the strangeness of Storyville is eclipsed by something more, by pages with shifting words and trees with ink flowing through their leaves. This is fascinating to me, this sort of space where reality is kind of separated from itself, just slightly tilted.

There’s a lot of slightly tilted reality to go around here. Storyville itself is a town built on tales where each person’s individual story is quite important and monitored to ensure that it doesn’t interfere with anyone else’s story. There’s a great feel to it when Nyquist is going through the city chasing a lead, just being shown the various areas of this sprawling city of words. Different parts of the city are known for different kinds of stories which feels interesting and I would like to see more of it. The city is probably my favorite part of The Body Library.

The flipside to my enjoyment of the city is the characters. There’s a flatness to the characters, I’m not sure if it’s something of the writing style or if it’s something of Nyquist as a focus character but it felt off.  Tied up in all the story elements of the book, the characters can feel less like characters and more like character sketches. Things don’t ring right emotionally. This is especially noticeably when it comes to Zelda. Nyquist has this whole thing towards her, this significance for her that doesn’t really get built up in any satisfying way but that is a driving force throughout the run of the book. The thing is, of course, that it’s a driving force I have a hard time buying into and so it feels forced.

There were some definite issues with the flow of the story. It’s worse towards the end than early on, but I think that sort of ties into the characters issue. Things feel like they could have been set up more solidly. Ideas crop up here and there, but the frame work can feel like it’s missing in places. The connections aren’t there.

Ultimately, I think I like the background elements and workings of The Body Library more than I like the actual story. There is a lot there that’s already solid, that would have been really well done, if it had been better set up. Would I read Jeff Noon again? Probably. While I had issues with some parts of the book I quite enjoyed others and would like to see what the background work in his previous Nyquist book is like. Because of that, I’m giving the body library a three out of five with the note that it only loses out on a four because of the flow issues towards the end.