Book 2 of KJ Parker's Engineer trilogy. After witnessing the fall of Civitas Eremiae in the first volume, we now get to watch the destruction of Civitas Vadanis.
Parker continues her diatribe on the evils of love. "Obsession is just another kind of love, after all." "Hate is just another form of love."
And my favorite exchange:
Miel Ducas: "Love is really, really important, and I missed out entirely. Unfair."
Death: "Love is a confidence trick, it's Nature's way of suckering a mammal with a brain and a long, vulnerable gestation period into reproducing. It's a substitute for rational thought. Love takes all your choices away. It leads to the worst pain of all. You might as well be getting uptight with me because you've never had diphtheria."
The ruination of character after character is attributed in some way or another to love. I counted at least five characters who wax philosophical about what a destructive force it is, how perhaps the world would be better off without it. It makes me want to read a bio of the author to find out just what the hell happened to her to have arrived at this place.
I enjoyed Evil for Evil quite a bit, and I'm looking forward to the final volume of the trilogy. But it can be pretty depressing. It reminds me of Martin's Song of Ice and Fire series in that you can't get too attached to the characters unless you don't mind seeing them abruptly ended (off screen as likely as not). It also put me in mind of Card's Ender's Game in the way some of the most upstanding characters are systematically broken down, distilled into the worst elements of who they were before Vaatzes' "machine" got hold of them. These are great books I'm comparing it to, for sure, but it's the most grinding, exhausting parts of them that are echoed by Evil for Evil.
This all comes wrapped in a thin story about a pair of treasure-hunters pulling an innocent young woman into a fight against an evil undead Confederate general and his minions.
The art is serviceable, if not particularly great. The character illustrations are glaringly two-dimensional, often reminding me of old 60s newspaper comic strips.
I wonder if I'd appreciate the art more if it weren't for the writing. The narration is straightforward and dull: first this happens, then this happens, then this happens... The Old Westy dialogue is stilted and forced, painful to read. There are bad sound effects printed in the panels, like in the Adam West Batman TV show. Kapow. K-blam. Wh-thump. B-doom. Just, ugh. And one of the henchmen actually goes by the name Bloodthirsty Bill. *rolls eyes*
Plus-one star for concept. But while I have volume 2 checked out from the library, I'll be returning it unread.
The second one finds Felicia and Cash posing as Nazi sympathizers to infiltrate the Reich's vampire soldier division and extract a scientist who may or may not have discovered a cure. Explosions and soul-searching ensue, as do a fair number of trite one-liners and cliched action-movie conventions.
I like where the series is going, humanity's struggle against vampires in all their varied forms, across the landscape of American history. So promising. But I hope the eye-roll-inspiring dialogue of the WWII spy story arc is not a sign of things to come.
After flipping through AV at a bookstore, I initially decided to pass on reading it. I think it was the cheesy action-movie one-liners that turned me off. A review convinced me to give it another shot, and while American Vampire won't make my all-time-greats list, I'm still glad I did. (I almost walked away again when Stephen King admitted in his intro that his first draft included THOUGHT BALLOONS.)
I really dig Rafael Albuquerque's illustrations. I'm not sure how to describe it...maybe a cross between Ben Templesmith (30 Days of Night except not as smeary) and my man Sean Phillips. The vamps are lean, pointy, and scary. The background colors do a great job establishing a mood and setting for each frame. Win.
The dialogue is fine, except when there's fighting. The aforementioned cheesy action-movie one-liners didn't get any better in context. The characters are reasonably well-written when they're not channeling Stallone/Schwarzenegger. Sweet is an utter bastard and easy to hate; Pearl is sympathetic and easy to root for. The supporting cast is similarly good.
AV takes a fairly novel (to my knowledge, anyway) approach to the genre: when the Eurovamps accidentally turn Sweet, he comes back as a new type of vampire, a daywalker with unknown weaknesses. The two camps jockey for power over decades, which sets the stage for a number of promising American historical settings in upcoming volumes. Should be fun.
Each chapter begins with posts from the characters news blogs; they try way too hard to sound witty or profound. It's cringeworthy.
Shaun continues to talk incessantly about how insane he's becoming. "My time is running out! Drama!" Dumb. Not believable. I think Grant set the first book up well--specifically I mean Shaun and George's extreme codependence--but it's hard to buy that insanity is so predictable and STABLE.
The epidemiological science continued to ring more or less true, and that's about the best thing I can say for Blackout. It's not the worst book I've read in the last two years, but I don't recommend it even for zombie fans.