Showing posts with label Wen Spencer. Show all posts
Showing posts with label Wen Spencer. Show all posts

Monday, November 18, 2013

Eight Million Gods, Wen Spencer

Eight Million Gods, Wen Spencer
ISBN: 9781451638981
Read October 22, 2013

Fantasy: Modern-Mythic Japan via hypographic expat American.

Eh... I really wanted to like this, and the ideas were awesome, but the second half just completely fell apart.  There was a real sense that it was rushed to printing, with no chance to look into even basic things like plotholes, dropped characters, and logical progression of abilities.

Nikki is in Japan after having narrowly escaped her mother, who is hell-bent on putting her into an institution due to her hypographia, which manifests as writing horrible graphic death scenes for characters which pop into her head fully-formed.  

The world turns out to be more complex than she imagined, as she enters a world of Kami and yokai, and learns that instead of having a mental disorder, she's really a Seer - and all those horrible deaths she's written?  Totally true, actually happening to real people.  Ugh.

Here's where things get interesting, and also fall apart.  Characters appear and then vanish for a time, intentions are set up and then left stagnant, and even important character developments (TRUE LOVE!!!1!!) happen in the space of a paragraph.  
 
That's not even counting the actual climax of the book, where everything established so far gets tossed aside for an ending that is not only confusing, but seems totally implausible in the world as given to us so far.  An unreliable narrator will only get you so far with this, and the overly chipper finale just made the entire journey seem even more unrealistic.

Specific disgruntlements:
WTF happened with Atsumori?  Dropped like a hot rock, no closure whatsoever, and he was my favorite character.  

When you name a character "Scary Cat Dude" you need to have him be a scary cat dude in an ACTION SCENE - not just locked in a cage.

Power-creep progression.  Nikki begins the story not able to handle stress without uncontrollable, unfocused writing, sometimes for hours.  Then she can handle stress without writing by frantically clicking a pen, and getting to the writing ASAP.  Next she can handle stress without writing at all, then or later.  Not satisfied with that, then she moves into handling stress just fine, and can guide the "uncontrollable" writing to focus on a specific person.  Next?  Guiding the writing to specify time or scene desired.  Still not enough, as then we're told that she can write multiple options for reality and then choose the best.  Seems that's not quite enough, so then she writes in blood and causes the writing to manifest.  Finally, not happy with the already earthshattering graphically-based powers laid onto the heroine, Nikki finishes up by IMAGINING a scene, and causes the imagined scene to manifest, therefore wiping a main character entirely out existence in the modern world.  Well then.  That settles that.  Makes all of her stress and worry and panic from previously in the book (as well as previously in life) seem a bit silly.  

Sadly not a keeper, and not really a recommended title either.  Which is a shame, because Atsumori and Inari really deserve better.

Thursday, January 26, 2012

Previously Published Review: A Brother's Price, Wen Spencer

Is this great literature? Oh no. Not in the slightest. Just read the cover blurb and you should know better!

Is this great Sci-Fi? Nooooo, not really. In fact, other than the gender imbalance, I'm hard-pressed to find any science-fictional elements here at all. I'm highly tempted to label this one "Speculative Alternate History Romance."

So, that established, how was it?

Well, as the only example of Speculative Alternate History Romance (hereafter: SAHR) I have encountered, I found it quite enjoyable.

Quick downsides:
The characters are drawn in very broad strokes, little detail, and much stereotyping. Secondary characters are likewise, but worse. No real character-building here, other than the main cast. Future SAHRs take note: even minor characters can be multi-faceted.

The main conceit is ignored as to cause and possible fixes. The world itself is drawn in sketchy fashion: the homestead, the city, the slums, the river... No real details of place and time anchor the story.

That combined with the the odd colloquialisms (Stetsons? Six-shooters? chaps?) do add to the western feel, but they also make the world seem a little unbalanced. How did the American West get turned into a hereditary monarchy of sister-queens? Where on earth (or not) are we? If they had been missing, and the western feel put in through character or other more subtle touches, that off-balance feeling might not have been niggling at my brain while I read. Again, potential SAHR writers, take care to establish the changes and underlying intelligence about why your world is so different.

The gender switch is amusing, but some of the particulars are a little overblown, and a little stereotyped. I know that's hard to reconcile, because she is purposefully playing directly against type for both men and women, but I felt that this story had the women come off as managing their new roles a lot better than the men do, and that's unfortunate. As I imagine them, SAHRs shouldn't have to be a man-bashing genre.

Quick positives:
The dialogue is written fairly well, and the interactions between characters are mostly believable (the initial 'romance' scenes are a little heavy-handed). I liked what little we saw of the world, and the plot kept to a very quick pace, so I never had time to think about what wasn't there. The main clan and their introduction to the city was a finely written section, and the few males in the story had distinctive characters (even the one who wasn't really IN the story.)

Overall, an amusingly light read. Jerin is a sweetheart, and I enjoyed the quick visit to his odd world. Maybe I'll write a SAHR myself!