Eon, Greg Bear

"Above our planet hangs a hollow Stone, vast as the imagination of Man. The inner dimensions are at odds with the outer: there are different chambers to be breached, some even containing deserted cities. The furthest chamber contains the greatest mystery ever to confront the Stone's scientists.

But tombstone or milestone, the Stone is not an alien structure: it comes from the future of our humanity. And the war that breaks out on Earth seems to bear witness to the Stone's prowess as oracle . . ."










If Through Darkest America was unsure whether it wanted to be post-apocalyptic, civil-war epic, Western or teen drama, Eon at least has the virtue of not needing to choose what it is by being everything to all things. It's big sci-fi, hard sci-fi, in the classic vein, with a plot that is followable but not necessarily understandable for all the right reasons.

When the cold war is interrupted by the arrival of a massive meteor, orbiting the Earth, science teams are sent to investigate. At which point every expectation about what's coming next breaks down as Bear decides to just skip over the bits you assume will come next, like the initial reaction to the stone's arrival, or the consequences of a world-ending nuclear war.

This is not a story that's afraid to hit its audience over the head thematically, but it's in the actual science that things can go a bit off the deep end. When your main character is an experimental physicist so brilliant a civilisation literally centuries ahead needs her mind to advance their science you know there's not going to be too much slowing down for the kids at the back to keep up. And so it proves, as the book seeks to set up a mathematical concept allowing a TARDIS to hijack a space rock out of its dimension and back through time. And then there's a space war. Everyone in the book is 'brilliant' in their own way, which can be distracting but is probably more fair in the context of a top secret scientific exploration of future-tech and alien activity.

It makes very little sense but is terrific fun, and works as a wonderful example of truly well thought out xenofiction, up there with anything in the Ender's Game books (a series which did very well at imagining lots of very alien species).

It also has a couple of sequels which I won't be hunting out but would certainly read if I came across them.

Also Try;
Greg Bear, Darwin's Radio
Orson Scott Card, Speaker for the Dead
K. A. Applegate, The Ellimist Chronicles

Through Darkest America, Neal Barrett Jr.

"Part of the Isaac Asimov Presents series, this provocative novel is set in a world that nuclear war has almost decimated of cities, technology and large animals. To replace farm livestock, the country's sole source of meat is genetically altered humans, without intelligence or speech. A distant civil war out west, its harsh taxes and harsher collectors, force Howie Ryder to flee his family's Tennessee farm. He falls in with outlaw Pardo, who signs on with a big meat drive only to rustle it and playsand preys onboth sides in running guns. Barrett's SF rendering of this latter-day civil war comes complete with a version of slavery, cavalry charges and a young boy representing the country's coming of age. The romantic narrative skillfully moves from a well-told if familiar story of war and the western frontier to areas of ambiguity and uncertainty that readers are left to answer for themselves."


This is, it has to be said, one of the weirdest books I've ever read. Not so much for the contents (which are pedestrian) or the style (which is standard) but for the concept behind creating a post-Apocalyptic America which is near indistinguishable from Civil War era America (right down to an actual civil war) and has very little in the way of actual post-Apocalyptic America.

Billed as a book about one man's journey through an America devastated by nuclear conflict, and with the Isaac Asimov presents handle to boot, I expected there to be a little bit more exploration of 'after the end' style ideas. Instead, the main consequences seem to have been a technological collapse (valid), the complete disappearance of all black people and animals in America (errr) and the emergence of a shell-shocked untermensch of people who are used as livestock and a foodsupply.

The problems with much of the book stem from its synthesis of post-apocalyptic savagery and a frontiersman spirit which only evokes the old west or the war between the states. This leads to some slightly on the nose, and seemingly unintentional, parralels once the business of slave herding comes in, which come across as a little bit too much of a 'what if we just ate all the African-Americans?'

This really is a problem; the main character is taken to see a stuffed 'Nigger' at the local fair, right before we find out that his family's farm rears people to be eaten. They are explicitly stated to be non-human, but clearly once were and are indistinguishable from humans other than there vacant nature. The aforementioned disappearance of all the animals, and also all the black people doesn't help. The main conflict is between the Government in the industrial heartlands and the rebelling South. For anyone with even a passing familiarity with American history this should be ringing alarm bells.

In no way am I intending to suggest that the author is racist, or that this is a racist book, but it certainly has racist imagery and, I'm sure, unintentionally racist themes which make it an uncomfortable read. This doesn't sit well with the rest of the story which is a dark but ultimately shallow story, a version of which was done better by Patrick Ness in The Knife of Never Letting Go.

It fails more as a post-apocalyptic imagining than a story altogether, but there are certainly better novels exploring the same idea. This would almost certainly now be a book aimed at teens, but there so many better novels set after the fall of civilisation for a teen audience that this would barely excite notice.

Also Try:
Patrick Ness, The Knife of Never Letting Go
John Christopher, The Tripods
George R. Stewart, Earth Abides
Cormac McCarthy, The Road
Daniel Woodrell, Winter's Bone

Godzilla: The Half Century War, James Stokoe

"The year is 1954 and Lieutnant Ota Murakami is on hand when Godzilla makes first landfall in Japan. Along with his pal Kentaro, Ota makes a desperate gamble to save lives... and in the process begins an obsession with the King of the Monsters that lasts fifty years!"














I really can't recommend this book enough - if you like Godzilla, non-superhero comics or just incredibly detailed art, then you HAVE to read this.

Stokoe is a master of fine detail. I mentioned in my review of Welcome to Megalopolis how much I admire the art of Jim Caliafore, for its depth of deisgn, but what's achieved by more non-mainstream artists like Stokoe and Ulises Farinas is breathtaking.

Take the panel below, a scene of Godzilla advancing through Tokyo during his first sighting, with a Japanese tank attempting to distract him from the fleeing refugees in front. A city scene featuring finely detailed buildings, the monster himself and the horde ahead of him. All are lovingly detailed, with no skimping. Compared to so many superhero comics, where a light attempt at a background is often to simply colour a flat service it's astounding.

James Stokoe (uncoloured), http://www.comicbookresources.com/?page=article&id=39274

The comparison with Farinas is an easy one; both produce craftman-like independent comics, and in 'Gamma' Farinas created a story of epic monster mayhem, through a prism of Pokemon and Power Rangers.

Ulises Farinas 'Gamma' ,http://comicsalliance.com/ulises-farinas-gamma-interview-dark-horse-presents/

But to boil Stokoe and Farinas down to simply being great artists does them a disservice. Half Century War, far from being simply a chance for Stokoe to indulge himself, is a wonderfully written book of obsession, loss and failure - what it means to live in a world in which sentient natural disasters have essentially made the military defunct, and in which total annihilation is only an new emergence away. It clings tight to the spirit of the original, whilst telling a neat history of the character through the eyes of one man.

It's essentially Don Quixote, with giant irradiated dinosaur-lizards.

I've written before about my love of Godzilla as a concept ( http://monsterawarenessmonth.wordpress.com/2011/02/16/remake-and-reboot/ ) and I love that this is a book that not only takes Godzilla seriously as a character but retells the story in a new light, introducing antogonists, plots and themes which dovetail with, and enhance, the movies.

And Stokoes meticulously time-consuming art doesn't just focus on individual pieces of rubble, buildings or people - his monsters are beautiful and horrifying, exactly as they should be. There's a two page spread of multiple warring beats, where the focus of the panel is maintained by a moving van threading through the warzone. It's masterfully articulated, maintaining the readers eye line at all times, moving them through a densely populated page without a break and allowing them time to drink in the power, size and destructive capability of Godzilla and his ilk.

It is, in short, everything that you should read.

Also Try:
James Stokoe, Orc Stain
Ulises Farinas, Gamma
Jeff Parker, Thunderbolts: Violent Rejection

Welcome to Megalopolis, Gail Simone and Jim Caliafore

"When the caped heroes of the world's safest city inexplicably all turn into homicidal lunatics, no one is safe.

The only rational thing to do is get the hell out of town. If only it were that easy..."














I kickstarted this (and it seems like a long time since I did) on the strangth of the fact that I like Gail Simone a lot (even if I've not especially enjoyed her Birds of Prey or recent Batgirl titles for DC) and Secret Six, which she did with Jim Caliafore

This isn't up to that standard, but as an example of world building it's an enjoyable read in its own right. The problem for all creator owned content is that, sooner or later, they have to explain their USP in a market crowded with too many characters, where even big name heroes can struggle to maintain their own series (just take a look at the list of cancelled book from the DC New 52 so far).

Kickstarter provides a medium for creators to release material without the worry that it won't sell. In reality, that's probably not an issue for Simone. She's a big enough name in the industry that her own creator owned stuff is going to sell. If Millar, Vaughan, Deconnick and Wood can do it, then Simone shouldn't have a problem, but clearly the vehicle of Kickstarter is a nice way to release new material.

The problem is that, shorn of the regular release schedule of mainstream comics the book can come across as ephemeral. Simone does an excellent job of creating a city that feels lived in, and Caliafore's art certainly helps. It's Hitchian in its scope and depth, and if his figure work isn't always as strong they certainly seem solid and real. The scenes of wholesale destruction have an appropriate sense of devastation. But without time to spend getting to know characters the death and sadness that permeates the book have little time to take route. Unlike The Walking Dead or Crossed, where a regular release or set of miniseries could bed in the core concept, we are introduced to characters and not given any time to appreciate them before they die.

It's not a bad thing to say, that I would rather there was more of it, but it does feel like a missed opportunity to set up a brand new universe that stands on its own.

Also Try:
Robert Kirkman, The Walking Dead
Brain Wood, DMZ
Simone and Caliafore, Secret Six

BZRK, Michael Grant

"These are no ordinary soldiers. This is no ordinary war. Welcome to the nano, where the only battle is for sanity. Losing is not an option when a world of madness is at stake. Time is running out for the good guys. But what happens when you don’t know who the good guys really are?

It’s BZRK. Noah and Sadie: newly initiated to an underground cell so covert that they don’t even know each other’s names. Here they will learn what it means to fight on a nano level. Soon they will become the deadliest warriors the world has ever seen. Vincent: feels nothing, cares for no one; fighting his own personal battle with Bug Man, the greatest nano warrior alive.  The Armstrong Twins: wealthy, privileged, fanatical.

Are they the saviours of mankind or authors of the darkest conspiracy the world has ever seen? The nano is uncharted territory. A terrifying world of discovery. And everything is to play for..."

To be honest, it has been so long since I read this that I don't fully remember all of it.

But here's what I have got. BZRK is your standard everyday tale of people who control nanotech to 'hack' the minds of others, carrying out personality (and policy) adjustments as well as assassinations in order to take control of the world. Battles are carried out, by and large, by teens controlling nanotech to take over the world.

So, so, wonderful.

Not to mention the fact that this is written by one half of the pair behind Animorphs. Alongside his wife, K. A. Applegate, Grant wrote my favourite series of all time, a series notable for its brutal realism about conflict, it's willingness to put teenage protagonists in mortal peril and actually follow through on that. All in all, a series in which a global conflict over the literal minds of the leaders of the free world isn't necessarily going to go well.

It's a cracking read, in the vein of the dystopian fiction that so much of teenage fare has become, with a more technological side which is bound to appeal to most teens. Well worth a read, in other words.

Also Try:
K. A. Applegate, Animoprhs
Michael Grant, Gone
Patrick Ness, The Knife of Never Letting Go
Suzanne Collins, The Hunger Games

Zoo, James Patterson and Michael Ledwidge

"All over the world, brutal animal attacks are crippling entire cities. Jackson Oz, a young biologist, watches the escalating events with an increasing sense of dread. When he witnesses a coordinated lion ambush in Africa, the enormity of the impending violence becomes terrifyingly clear.

With the help of ecologist Chloe Tousignant, Oz races to warn world leaders before it's too late. The attacks are growing in ferocity, cunning, and planning, and soon there will be no place left for humans to hide."

I am going to differ from probably everyone else on this book, because whilst the world seemed to hate it, I thought it was wonderful. Now, part of that may be down to the fact that the story (animals turn on humanity, go on the rampage) is exactly the kind of thing I enjoy most, or it may be down to the fact that the writers clearly are enjoying themselves way too much to care about things like facts, science or consistency.

And Boy, do they not care. Going on the basis that pheromones are things that exist, the book posits that a new pheromone could change the behaviour of every single male animal worldwide, causing them to attack humans. In packs. The real victim isn't humanity though, it's continuity, as the authors introduce important plot lines (like only male animals attack people) having forgotten that the very first attack they describe is from a lioness. And when characters disappear halfway through a chapter and never reappear again. This is all pretty normal.

But there's still a real joy to it all, whether descriptions of massive dog packs occupying major citites, or descriptions of special forces units against bears. Even when it doesn't make sense (which is every few pages), or when the science is bad (I mean, really bad - like Michael Crichton bad) it's carried along by the fact that another idea will be introduced by the next chapter and everyone will forget exactly what the problem was.

Also, the REAL villains are entitled rich people, and I think we can all get on board with that.

Also Try:

James Patterson, Maximum Ride

Michael Crichton, Next, Congo

Animorphs; The Stranger, K A Applegate

"The fight for the planet continues in this gripping installment -- and the Animorphs must make an exacting choice.

The last time Rachel and her friends entered the giant Yeerk pool beneath their town things went very bad. This time they plan to be careful, and sneak in as roaches, just to spy.

Once they're inside, though, the team gets caught. But right as things are looking their most dire, everything stops. Everything.

Then Rachel and the Animorphs hear a voice. It belongs to a very old, very powerful being, and it says it can save them. But if it does, the Earth will be defenseless."



The Stranger is the seventh Animorphs book, and as I've mentioned before, as a kid I was a little bit obsessed with this series. So when I saw a copy of this book (one of my favourites) for sale at a library clearance I picked it up for JJ's brother. It's actually an updated version of the book I read, re-released last year as part of an unsuccessful relaunch of the line.

The Stranger is Rachael centred and has a couple of plot threads. Kicking off with the discovery of a new entrance to the Yeerk Pool, and the Animorph's decision to infiltrate it with the intention of discovering the whereabouts of the Yeerk's Kandrona (the replica sun that they feed from). Whilst there they encounter the Ellimist (essentially an all powerful alien God) and get given the opportunity to decide the fate of humanity.

The B plot is Rachael being given an out; a chance to leave behind her life as an Animorph and relocate to a different state with her Dad.

The plot then is all about choices, Rachael is given the chance to end her involvement in the war by both her father and the Ellimist, and her personal struggle, as well as the decisions of the Animorphs as a whole are the main focus of the book.

It's a theme that comes up a lot in the books; more notably with Cassie and Ax who both face difficulties in justifying their role against their morality (Cassie) or duty (Ax). But for a series where the decision to fight and keep fighting despite all the horrors they have experienced was notably quick, it's nice to see the ramifications of these choices.

Rachael can sometimes be a very one note character in the books that don't focus on her, but she tends to be far more nuanced in her own stories. Between this and the David arc she shows far more compassion and fear than is normally the case, even going as far as to admit to it to the rest of the Animorphs.

The key thing here is that the heroes are given an explicit opportunity to choose their destiny. The heroes choice is a common trope in fiction, emphasising that these individuals knowingly give up on the things that would make them happy for the greater good (think Bruce Wayne sacrificing his reputation to maintain the Batman secret, or Spider-Mans 'with great power must also come great responsibility').

The Ellimist gives the series a chance to explore exactly what it means for these teens to be facing up to a potential lifetime of war, it's the first time they question what the future will look like should the war drag on and on.

The conversation between Rachael and Tobias represents an acceptance that their life can't be normal again;Rachael's decision to stay with the Animorphs and not leave foreshadows the fact that, (spoiler alert), she won't make it through this war. Her chance to get out rejected she will be in it to the end, and won't get to live beyond it. The tragedy is that here is the last point at which she could conceivably have escaped from the path laid out for her - rejecting the warrior she is becoming and returning to normality with her Dad.

By contrast the Ellimist presents a different choice; not a return to the status quo and abandoning the mission, but recognition that their cause it lost and choosing to save those they care about. Abandoning the war for Earth to save their families is a harder choice to make. Unusually, despite initial resistance they eventually make the decisions to do so. The fact that the Ellimist is playing a different game altogether is irrelevant: this is a book in which the heroes do come to the conclusion that abandoning earth to an almost certainly inevitable conquest by the Yeerk's is the best option. It says something about the stakes of the series that this decision is presented as almost certainly the best one; saving a few families and the species from extinction is better than allowing the entire population to succumb to enslavement. 

It absolutely blew my mind as a kid that just a few books into such an epic mega-series the heroes are so shell-shocked and traumatised that giving up and letting the bad guys win to save a few dozen people is not only considered a valid option, but actually gets chosen as the strategy.

There are some parts where it's clear that this is one of the earlier books, and the rules haven't quite been solidified yet; during the escape from the Yeerk Pool the Animorphs demorph to human to avoid being eaten by a Taxxon, something which is unlikely to happen in later books where the paranoia about being discovered to be humans has really crept in. Rachael complaining that a controller pushed her over is especially disconcerting; it would be hard for anyone to mistake a human girl for an andalite,    so if he's knocking her over you would assume he had realised that the guerrilla force the Yeerk's were hunting wasn't just comprised of blue alien centaurs with deadly blade tails. Clearly observational sloll isn't something that Visser 3 prizes.

We do get some great action sequences in the book that made it stand out for me when younger though; the inevitably future scene of Yeerk victory with dead bodies in schools and burnt out cars was one of my first post-apocalyptic scenes. Hands down the highlight however has to be Marco punching a security guard in the face through a reinforced window whilst in gorilla morph. It's up there with his driving the truck as a gorilla (in Megamorphs 1?) as a highlight for the character.

This is a pretty important book in the series introducing the Ellimist, Rachael's Grizzly morph and fleshing out the character so often written off as a gung-ho blood knight. More tha that though it's one of the most entertaining, and features some great moments and character development for almost everyone.

Also Try;

K A Applegate, Animorphs - http://animorphsforum.com/ebooks/

Michael Grant, Gone

R L Stine, Goosebumps

Kate Thompson, Switchers Trilogy

Transmetropolitan: Lust for Life, Warren Ellis

"Outlaw journalist Spider Jerusalem attacks the injustices of his surreal 21st Century through black humor as an investigative reporter for the newspaper The Word in this critically-acclaimed graphic novel series written by comics' superstar Warren Ellis, the co-creator of PLANETARY and THE AUTHORITY.

In this volume, Jerusalem targets three of society's most worshipped and warped pillars: politics, religion, and television. When Spider tries to shed light on the atrocities of these institutions, he finds himself fleeing a group of hitmen/kidnappers in possession of his ex-wife's frozen head, a distorted creature alleging to be his son, and a vicious talking police dog."







I love Transmetropolitan with all my heart, because it's an incredible example of how far you can push mainstream comics. Much like Preacher, which shows how adult a comic for mature readers can be, without ever feeling too grown-up, Transmetropolitan is an absolutely wonderful idea taking storytelling and the medium to it's extremes.

An epic sci-fi tale, told through the eyes of Gonzo journalist Spider Jerusalem (basically future Hunter S. Thompson) as he navigates The City after five years absence. An excuse to explore future-tech, concepts as varied as pornography, advertising and religion, and whatever else seemed good that week, it eventually morphs into a scathing indictment of politics, politicians and the media in the form of the election and presidency of a man known only as the smiler.

It's hard to quantify quite why it's so good. In a lot of ways I think it simply keys into a few things I love; politics, journalism, sci-fi and comics. But beyond that it's got a rich sense of imagination - the varying issues of this collection look at people self-evolving into gaseous bodies, the psychological impact of a radically different future on those coming out of cryogenic freezing, public preserves of ancient culture which include all the accurate diseases and war of the historical context. It's stuff that's remarkably prescient - not to say that vaporous upgrades or cultural reserves are imminent, but they feed off contemporary questions and concerns in an exciting and interesting way.

Whilst this isn't anything like as good as it gets, and it's certainly worth starting at volume 1 to get the fuller picture of The City and Spider's life there, this is an excellent book and one that anyone interested in comics should make time to read.

Also Try:
Warren Ellis, The Authority
Warren Ellis, Global Frequency
Warren Ellis, Thunderbolts