Discuss and rate the last thing you read

Drathnoxis

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Asita said:
Dracula - Bram Stoker

I liked this one a little better than I did Frankenstein, but it does have its trying moments. One of the more curious things about this is that contrary to a lot of adaptations, Mina is less of a setpiece and in fact is arguably the most competent of the protagonists, both helping them to put the pieces of the puzzle together and coming up with a few ideas herself when the trail runs dry. It's a refreshing change of pace, really.
I read Dracula around 5 years ago, I think, so my memory is a little vague now. I also liked it more than Frankenstein. What was interesting to me was how a couple of traits that became attached to vampires were absent or different in the book. Mainly that they killed him by sticking a knife in his heart, not a stake, and I think he could go out in the sun but there was a weird restriction about transformation, but I don't really remember anymore.
 

Asita

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Drathnoxis said:
Asita said:
Dracula - Bram Stoker

I liked this one a little better than I did Frankenstein, but it does have its trying moments. One of the more curious things about this is that contrary to a lot of adaptations, Mina is less of a setpiece and in fact is arguably the most competent of the protagonists, both helping them to put the pieces of the puzzle together and coming up with a few ideas herself when the trail runs dry. It's a refreshing change of pace, really.
I read Dracula around 5 years ago, I think, so my memory is a little vague now. I also liked it more than Frankenstein. What was interesting to me was how a couple of traits that became attached to vampires were absent or different in the book. Mainly that they killed him by sticking a knife in his heart, not a stake, and I think he could go out in the sun but there was a weird restriction about transformation, but I don't really remember anymore.
More or less right. Lucy was killed with a stake though. Dracula could walk around in sunlight with little effect other than losing much of his supernatural power, and if he was outside the place he was bound he could only transform at Dawn, Noon, and Dusk. There's also the offhanded mention of some very weird restrictions, like how you can trap him in his coffin by putting a rose on top of it while he's inside.
 

Agema

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The Glass Breaks - A.J. Smith

"The glass breaks, the sword falls, the sea rises". A.J. Smith has started a new series after his last one, which was a fairly stock fantasy heavily inflected with influence from Lovecraft. Here, he has created a new world (although one not entirely unconnected to his previous) and retained the Cthulhu mythos, to the point of having a city called "Rlyeh" on the map - although never referred to as such in the text - with old cephalopol-head himself in residence and busy dreaming away.

Duncan Greenfire is the most unfortunate of individuals, an adolescent born undersized and puny in an extremely warlike people (sort of Vikings), the Sea Wolves; he has been tested and passed to be called a man only because of his prodigious magical talent. As with all these books, his amazing talent will take him places. Meanwhile, another Sea Wolf, Adeline Brand, is one of the top fighters of her people and has a more conventional head-breaking career. The Sea Wolves are one of four-an-a-half peoples who have sailed from the east to conquer the Pure Lands, and now dominate the native American-like peoples who lived there before them.

Obviously, you've got a Lovecraftian Elder God hanging round the backyard, the reader knows exactly where the threat to civilisation is here. Duncan and Adeline set off on their diverging fates to save the people of the Pure Lands, where Duncan eventually learns that the Sea Wolves are little more than a bunch of idiot thugs, where Adeline learns that even idiot thugs need people with at least some wisdom.

It's good fun stuff - although really just baseline fantasy with a dollop of Lovecraft. A.J. Smith is pleasingly ruthless though: expect that major hero protagonists can be deeply flawed, stupid, fail, and/or die: none of this boundless heroism and honour dripping from every pore. Adds a frisson of the unexpected. On the down side, I'm not totally sure I liked the direction it seemed to be going in the last quarter, which adds a note of trepidation to my general sense of looking forward to the sequel.
 

Hawki

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Mass Effect: Andromeda: Initiation (3/5)

Started reading this book after starting the game it ties in with, and I finished it while still playing the game it ties in with. A game that I just want to be over (though I'm doing various sidequests before going to Meridian, because I hate myself), but in the meantime, I have to deal with this. So. How is it?

...fine, really. It's tie-in fiction. It's fine. It's average. It's a repeat of the very first Mass Effect novel in a lot of ways, in that they're both prequels, both deal with secondary characters (Anderson/Cora), and both deal with AI and how it relates to the setting. Honestly, I prefer the first novel though - new universe, and Saren's a far more compelling character than anything this book comes up with. Well, at least a more compelling anti-hero (not antagonist mind you). At the very least, the interactions between SAM and Cora are good. But at the end of the day, the book's fine. Not the worst Mass Effect novel (!cough!Deception!Cough!) but decent.

Now maybe someday I'll finish Andromeda proper and not have to bother with the damn thing anymore. :(

Asita said:
Drathnoxis said:
like how you can trap him in his coffin by putting a rose on top of it while he's inside.
Roses are red
Violets are blue
You are a vampire
A stake goes through you
 

Agema

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Skyward: Claim The Stars - Brandon Sanderson

Argh. I normally buy books by browsing the bookshop. (Yes, I still read via legacy dead tree format.) One of the problems with this is it leaves me vulnerable to unmarked Young Adult (YA) fiction clogging up other sections, because bar a few exceptions I really do not like YA fiction. Coming-of-age story where spunky teen rises from troubled past and (apparent) humble origins to save the world could be any number of SF&F books. However, YA sticks out for elements of childishness; cutesiness; chaste quasi-romance; simpler language; simpler emotional detail, character, world-view, etc. much more directed as issues relevant to teens.

And so we have Spendra, pilot-wannabe whose dad was branded a coward. Humans live in a deep cavern in a barren world surrounded by a massive orbital defence system and rubble (which occasionally drops onto the surface). Aliens, the "Krell" occasionally fly through gaps in the rubble to attack this last remnant of humanity. Spendra joins a bunch of other pilot cadets to defend her species, overcoming obstacles.

The set-up of Skyward: CTS is infuriatingly contrived. Why are the humans so ignorant of their history and situation? Why do the aliens - who we can gather have already crushed humanity in a galactic war - not annihilate this last pocket? Answer: because Sanderson wants it so, not because it really makes much sense. Part of this is Sanderson's style to be found across pretty much all his works that the world-setting has a "puzzle" that the protagonists must work out to save the day. In short, I kind of hated this book throughout most of it. It's redeemed only by the fact Sanderson is an effective author who's easy and fun to read, and the denouement was actually quite exciting (if, again, a bit contrived and unlikely). This is obviously a subjective view: it is designed for an audience much, much younger than me, and so they'd probably get a great deal more out of it.
 

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Agema said:
Skyward: Claim The Stars - Brandon Sanderson

Argh. I normally buy books by browsing the bookshop. (Yes, I still read via legacy dead tree format.)
Statistically, you're actually in the majority there.
 

Hawki

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The Old Lie (3/5)

The Old Lie is two thirds a bad novel, one third a good novel. I figure that at the end of the day, that makes it an average novel. Yes, the math might not quite work out, but screw it, I don't do decimal points, and I only do rankings of ten for movies.

The Old Lie is by the same author as Terra Nullius, and deals with similar themes. The novel is meant to be analogy for the experience of Indigenous Australians in WWII, but "meant to be" is the key phrase here. That said, I have a load of gripes about this book - you might remember with Terra Nullius that I complained, among other things, that the worldbuilding has to contort itself to match the analogy. Here, this problem is alleviated by cutting out worldbuilding entirely, and making analogy on the nose to the point where no-one can miss it. You'll see what I mean about that later.

So, what's the setting of this book? Well, at some point (a point which could easily be the present day), Earth is attacked by an interstellar body called the Conglomeration. We fight good, we fight hard, but we're outmatched by superior technology. However, humanity recovers a downed Conglomeration ship and sets out distress signals in desparation. Turns out those signals are heard by the Conglomeration's enemy, the Federation, which arrives and engages the Conglomeration above Earth, forcing the Conglomeration to withdraw. Earth thus becomes a Federation pseudo-member (nto a full member, more like a protectorate), and humans sign up to fight the good fight. The novel begins eight years after the initial attack on Earth, as we learn that even among the stars, war is hell...and when on the ground, practically identical to WWI for some reason.

If you think this is an interesting setup, don't get too excited, because I've just summed up the majority of the worldbuilding right there. We learn almost nothing about the Federation and Conglomeration, let alone the war between them. Species descriptions are kept intentionally vague (most aliens seem to be humanoid, as when they aren't they're specified), but we learn little about them. Almost all the characters in the book are human, and humans keep to themselves. I don't actually mind this, as it refers to the Federation keeping its species segregated while in battle (cue WWI, with forces of the British Empire being divided by their country of origin), but the difference between this and WWI is that we know how WWI started, why it started, and why it ended. In this, we learn...nothing. It's so weird, Terra Nullius had questionable worldbuilding, but at least it had it. I understood how we got from Point A (all sapient life emerges in the Milky Way at the same time because reasons), to Point B (one side of the galaxy is more densely populated than the other because reasons), to Point C (Earth is invaded), to Point D (the novel), with hints of Point E (hints at a future where things are slightly better for humanity). Old Lie has none of this. If anything, we start the story at Point Y, since over the course of the novel, the Conglomeration loses its homeworld and the war ends. We don't even learn it was the Conglomeration homeworld until after the titular assault. I've just spent two thirds of a novel reading a story about two galactic empires fighting each other for reasons that are never explained.

And look, I know what you're going to say. Federation? Conglomeration? Futility of war? Isn't it possible that the lack of detail is intentional? Isn't it possible that the intent of the novel is to serve as analogy , of humans getting the short end of the stick fighting for a government that's going to discard them as soon as the war is over? Is it possible that I'm looking at this novel the wrong way? Well, Little Jimmy, I can concede that every question I just raised could be answered with the word "yes." However, even if that's the case, I still can't deny that for the first two thirds of the novel I just didn't care about what was going on. The thing about WWI is that even if we agree that it was a waste of human life (and that's certainly the most common position taken by media that depicts it), at the very least, everyone with a half decent education understands the background of WWI, as to why it happened, how it happened, and why what was meant to be a quick war degraded into trench warfare (least within Europe). I'm not saying that every piece of WWI media addresses this, but again, it doesn't have to. The Old Lie, however, is fictional. Even if it's trying to convey its themes through parallels and analogy, I need something, ANYTHING to ground me in the setting. I'm not talking about a lack of technical details (IFTL travel doesn't need lengthy explanation as to how it works for example), I'm talking about the lack of a stable background beyond Earth. Even if I believe that the Federation and Conglomeration have been fighting for so long they don't even know why (this is never stated though), Earth's only been in the fight for eight years. This isn't a Forever War scenario. It isn't even an Ender's Game scenario. Short version is, I can buy the idea that the Federation and Conglomeration are named as such, and are sparsely detailed as such, to convey moral equivalence and the futility of war. I just feel it works to the book's disadvantage. Because I spent two thirds of the book waiting for the point where it would give me these details, and never received them. And you can't tell me that increased details would automatically decrease moral ambiguity. To cite another sci-fi series I've gone back to, The Expanse, there's no shortage of details on the history and structure of Earth, Mars, and the OPA. I challenge you however to nominate the "good" faction.

So, alright then. The worldbuilding is non-existent. But as I've often said, I don't care how detailed your worldbuilding is if the characters inhabiting that world aren't interesting. Well, sorry Little Jimmy, but here, the novel fails as well. We have Rommy (a pilot), Jimmy (refugee, who isn't little), and...honestly, I barely remember. Daniels, I think the third character is, some kind of groundpounder fighting in not!WWI battlefields.I mean, there's other characters, but these are the POV ones, and while I at least remember their names, they aren't interesting enough to salvage the setting they're plopped into. Rommy/Romeo is a fighter pilot, and her sections are basically one space battle after another that gets very old, very quickly - I know, I know, cosntant warfare, war is hell, unceasing conflict, yadda yadda yadda, I still couldn't get engaged with it. Jimmy is a little better, in that he's a refugee trying to get back to Earth, but when you're separated by light years, getting back to Earth is more a case of "hop on a spaceship and hope you end up a few light years closer to Earth than you were before." Actually, to be fair, the Jimmy sections do have more punch than a lot of the other book, in that we see a lot of refugees, conveying that not only are refugees a thing in insterstellar war, but that the Federation and port authorities can be just as cold-hearted as humans can when it comes to sealing borders (or planets). I mean, there's a space station called "New Manus" orbiting Saturn for processing. Gee, subtle. But, credit where credit is due, the Jimmy sections do carry an emotional heft a lot of the book lacks. If it had focused on Jimmy, I might have been more interested. However, there's way too many characters, and the book is constantly jumping between them, with chapters only being a few pages.

So that more or less covers the first two thirds of the novel. If it had ended here, I'd have given it a 2/5, because whatever strengths it had were drowned out by a tidal wave of shortcomings. However, once we get to the third part, that's when things get interesting. You see, in a parallel to Maralinga (this isn't subtle, Maralinga is directly mentioned as a similar example), the Federation has detonated a bomb in Australia that they apparently told no-one about. The bomb is basically described as 'viral radiation.' Like, imagine if you were subjected to nuclear fallout. Only in addition to making you sick, anyone else you'd come into contact with would also be made sick. This 'virus' is transferred through all forms of matter, so unless you meet it with vaccuum, all of Earth is screwed. Basically, think a grey goo scenario. Also, Perth (which was destroyed by the Conglomeration) is going to be turned into a giant retirement village for Federation soldiers. If you think this sounds cheesy, believe me, it actually isn't. When faced with Federation buracrats, people who can't verify human identities because of legalese and cities on Earth no longer technically existing, their anger is palpable. Couldn't help but feel angry too, even though it was fanciful scenario. Though, granted, a scenario that has parallels with reality.

So, that's The Old Lie. Two thirds bad, one third good, thus balances out.
 

Agema

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Hawki said:
Statistically, you're actually in the majority there.
I don't feel like it, because most everyone else I know has switched to ebooks and audiobooks - but I guess therein lies the danger of thinking most people are like the people you know.
 

Hawki

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Agema said:
Hawki said:
Statistically, you're actually in the majority there.
I don't feel like it, because most everyone else I know has switched to ebooks and audiobooks - but I guess therein lies the danger of thinking most people are like the people you know.
Most people I know use physical media, granted, but that aside, numbers don't lie, supposedly. In purchasing, I've read that e-books are still being outsold by physical books. In one of the libraries I work at, it's even lower - IIRC, of all the loans we processed in a given period of time, only 10% of them were e-books.
 

BrawlMan

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Hawki said:
Agema said:
Hawki said:
Statistically, you're actually in the majority there.
I don't feel like it, because most everyone else I know has switched to ebooks and audiobooks - but I guess therein lies the danger of thinking most people are like the people you know.
Most people I know use physical media, granted, but that aside, numbers don't lie, supposedly. In purchasing, I've read that e-books are still being outsold by physical books. In one of the libraries I work at, it's even lower - IIRC, of all the loans we processed in a given period of time, only 10% of them were e-books.
Damn straight! Here's the problems with ebooks: hope your internet does not get shut off, your device goes bad, or in an areas with shitty internet service. People still buy physical books You should see my local Barnes & Nobles, Books-a-Million, or this one old style book store in downtown Detroit. And audio books I find more useful than ebooks. Ebooks are great for independent authors that can't find a publisher and want go out on their own.

I remember there being a brief "panic" of people thinking ebooks were going to takeover books, because Borders Books went out of business. That was a combination of the media steering up shit and people overreacting to a major business shutting when plenty of other bookstores moved on just find and still exist.
 

Elfgore

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I decided to reread the Drizzt series again for some reason. The last time I read this was early high school, so I was curious to see how it stacked up. I started with the origin trilogy, Homeland, Exile, and Sojurn. It's not the worst thing I've ever read is about the best I can say. The writing has a pace to it that just makes pages fly by. I've read about nine hundred pages in a week, which has been rare for a long time. It has problems though I didn't notice as a kid. Drizzt is painfully Gary Stu. Literally stuff that shouldn't be possible happens because he attempts it. If he was a character in a D&D game, the player playing him is either best friends with or dating the DM. I'm pretty much just treating it like The Prince of Thorns trilogy. It's trash, but it's entertaining trash.
 

Agema

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Elfgore said:
I decided to reread the Drizzt series again for some reason. The last time I read this was early high school, so I was curious to see how it stacked up. I started with the origin trilogy, Homeland, Exile, and Sojurn. It's not the worst thing I've ever read is about the best I can say. The writing has a pace to it that just makes pages fly by. I've read about nine hundred pages in a week, which has been rare for a long time. It has problems though I didn't notice as a kid. Drizzt is painfully Gary Stu. Literally stuff that shouldn't be possible happens because he attempts it. If he was a character in a D&D game, the player playing him is either best friends with or dating the DM. I'm pretty much just treating it like The Prince of Thorns trilogy. It's trash, but it's entertaining trash.
Drizzt doing absurd and amazing things is, I think, very much in keeping with the idea of a D&D hero, though. Althoguh does depend on the GM: some prefer being closer to realistic (I was in that mould) rather than nailing ancient dragons every week.

I wouldn't want to be too harsh, but I think tie-in literature is generally the preserve of authors who aren't good enough to sell on their own merits. There are exceptions - some very good authors have also done tie-in lit because no matter how good they are they don't sell enough of their own books to pay the rent. RA Salvatore is nice and easy to read (I enjoyed the Icewind Dale trilogy as a child), but he's far from the world's best author.
 

Hawki

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Agema said:
I wouldn't want to be too harsh, but I think tie-in literature is generally the preserve of authors who aren't good enough to sell on their own merits. There are exceptions - some very good authors have also done tie-in lit because no matter how good they are they don't sell enough of their own books to pay the rent. RA Salvatore is nice and easy to read (I enjoyed the Icewind Dale trilogy as a child), but he's far from the world's best author.
Depends how you define selling. I can tell you up front, it's very rare for an author to write entirely tie-in fiction. There's a few settings where you can basically submit your book for publication (e.g. Star Trek), but most of the time, it's case of the IP owner floating around a pitch/concept, and writers agreeing to take it on. Now obviously a lot of tie-in fiction is of questionable quality, but most of the time, the author will have had to published something of their own to get taken notice of.

There's also the fact that there are very few authors who can survive entirely on writing. Yeah, there's the J.K. Rowlings and James Pattersons of the world for instance, but these authors are very much the minority. When I did writing courses, one of the first things the instructor did was hammer home that only the cream of the crop can survive entirely on writing. In those courses, some of my fellow students ended up being published. None of them went full time however.
 

Elfgore

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Agema said:
Elfgore said:
I decided to reread the Drizzt series again for some reason. The last time I read this was early high school, so I was curious to see how it stacked up. I started with the origin trilogy, Homeland, Exile, and Sojurn. It's not the worst thing I've ever read is about the best I can say. The writing has a pace to it that just makes pages fly by. I've read about nine hundred pages in a week, which has been rare for a long time. It has problems though I didn't notice as a kid. Drizzt is painfully Gary Stu. Literally stuff that shouldn't be possible happens because he attempts it. If he was a character in a D&D game, the player playing him is either best friends with or dating the DM. I'm pretty much just treating it like The Prince of Thorns trilogy. It's trash, but it's entertaining trash.
Drizzt doing absurd and amazing things is, I think, very much in keeping with the idea of a D&D hero, though. Althoguh does depend on the GM: some prefer being closer to realistic (I was in that mould) rather than nailing ancient dragons every week.
Though I'm inclined to agree somewhat with this, my players have done some absurd stuff during my games. But that's the problem with this, Drizzt is just better than everybody else and it doesn't feel like a team effort. He manages to make a creature magically compelled to serve the holder of the control item turn against his master. Solo an earth elemental. He's told constantly how he's somehow better than everyone else. It doesn't feel like a balanced party when the main four get together. It feels like Drizzt is the DMs favorite.

I should, I don't hate R.A. Salvatore. He has some good moments and the reason I think the books are amazingly paced is because of how enjoyable they are to read. I do think he totally uses the Forgotten Realms as a crutch. Him being able to name monsters without needing to describe them, due to them being popular D&D monsters, is something he does way too often. I also think the phrase "churn out" is completely fair to use one him. At one point he was putting out two to three books a year in this series. Even slowing his pace we still see multiple years of him putting out two books a year. In his defense again, this seems to be commonplace for many who write for the Forgotten Realms.
 

Agema

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Hawki said:
There's also the fact that there are very few authors who can survive entirely on writing. Yeah, there's the J.K. Rowlings and James Pattersons of the world for instance, but these authors are very much the minority. When I did writing courses, one of the first things the instructor did was hammer home that only the cream of the crop can survive entirely on writing. In those courses, some of my fellow students ended up being published. None of them went full time however.
True - I used to play football with a crime author who was so much of a mid-list author he wrote a non-fiction book about being a mid-list author. SF&F very much tends to be mid-list. I was in loose contact for a while with a fantasy author who said on about his 3rd/4th book he was making enough to give up his day job, although his wife had a job to also pay the bills.

Tie-in lit often sells relatively well compared to most SF&F, or so someone I wouldn't entirely trust to know said to me, anyway. Also, movie/TV adaptations can often be a big payday, too.

Elfgore said:
I should, I don't hate R.A. Salvatore. He has some good moments and the reason I think the books are amazingly paced is because of how enjoyable they are to read.
I agree entirely - they are extremely easy to read and decent fun. Even when you know you're reading trash, if it's fun trash that sort of knows it's trash, you'll forgive it. What really grates are books that seem to have the feel that the author thinks they're writing the next great epic, and just doesn't realise how mediocre they are.

I also think that you're right that having a world pre-built (like Forgotten Realms) can make the job much easier, probably just because it saves a lot of creative effort.
 

Agema

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The Spider - Leo Carew

Second in the series Under The Northern Sky, following "The Wolf". This is set in a sort of fantasified Dark Ages Britain, where the equivalent of northern England & Scotland are occupied by a humanoid race called the Anakim (which if I remember rightly are borrowed from some sort of mythical Hewbrew giants) and the south by "Sutherners" who are basically Saxons. The Anakim are individually larger, more powerful and longer-lived than men, advanced, but disdain agriculture and so are few in number and slow to change. The setting goes that over the centuries, humanity have driven the declining Anakim to small pockets, with this group in Albion being the last major Anakim nation in Erebos (i.e. Europe).

The main protagonist is Lord Roper, who leads the Anakim, and then to a lesser degree an ambitious and vastly talented man of ignoble birth, Bellamus, who is key to the efforts to oppose the Anakim. Following the events of the previous book, Roper has realised that the Anakim realm is doomed unless they can expel men from Albion, and so he sets about the next phase in his long war. He seeks allies amongst another race of giants, and intends to invade and subdue the South. Bellamus as a spymaster seeks to oppose him, using the limited tools available to him.

The two main characters in this book are both presented sympathetically: the Anakim (surprisingly?) are perhaps the side we're invited to root for by the author, although their opponents are portrayed realistically and well-roundedly. Bellamus is ambitious, deceptive and manipulative, but also a man of substantial decency and honour - he's genuinely interested in the welfare of other men. There's an air of tragedy - Roper and Bellamus admire and even like each other, both are fiercely intellectual, but there can only be conflict between them because their aims are utterly antipathetic.

This is not the easiest-flowing read, but I think it's a cut way above normal fantasy fare in terms of character development and thoughtfulness, and the well-grounded sense of... I hesitate to use the term "realism" for a fantasy novel, but that it is so well constructed that everything has a good, sensible reason for happening. No magical make up whatever the author fancies, deus ex machina, etc. So, I like it plenty, anyway.
 

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Agema said:
Tie-in lit often sells relatively well compared to most SF&F, or so someone I wouldn't entirely trust to know said to me, anyway. Also, movie/TV adaptations can often be a big payday, too.
I wouldn't doubt that, I remember in my teen years of reading tie-in lit, those Salvatore and Star Wars books always claimed to be on the "New York Times best-selling list" or "from a New York Times best-selling author". I dunno what it would take to get on that list, but I presume it means some dosh for the author.

I think to an extent you can regard that as setting-based novels being buoyed by how positively received and popular the setting's brand is.
 

Hawki

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Agema said:
Tie-in lit often sells relatively well compared to most SF&F, or so someone I wouldn't entirely trust to know said to me, anyway. Also, movie/TV adaptations can often be a big payday, too.
Off the top of my head, Karen Traviss stated outright on her website that the reason that she writes so much tie-in fiction is that it, in short, pays the bills.

Similar to franchise films in a way. People will go with what's familiar than what's an unknown a lot of the time.
 

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Does Religion Do More Harm Than Good? (3/5)

That isn't a question (well, it is technically), it's the title of the last book I read. And by book, I mean novella, because it was less than 100 pages and read within an hour. It's a book that attempts to deal with that question, but at least for me, "attempts" is the key word in that sentence. Because for my money, the book feels too dense and too sparse at the same time. Too dense, because even as someone who considers himself reasonably well educated on history, it threw around a lot of terms, concepts, and events that I wasn't familiar with. Sparse, because in the context of its title/question, the book touches on Christianity, Islam, Judaism, Hinduism, Buddhism, and if only for a second, Taoism. Any one of those religions could be evaluated by themselves in the context of the question, but the book throws them all together, and not really in that succinct a manner. As in, it'll deal with Abrahamic religions, then Eastern religions, then go back to the Abrahamic religions all in the same paragraph.

So, yeah. If you asked me the above question, I'd have an easy answer for you. The author gives his own answer, and while it's one that I disagree with, it's beside the point, as I don't think he presents the case that well. In part because the book's trying to do too much in too few pages, and isn't structured in an intuitive manner.
 

Asita

Answer Hazy, Ask Again Later
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Sherlock Holmes Series (A Study in Scarlett through Hound of the Baskervilles)

I've got very mixed feelings about this series. It's not difficult to get through or particularly unenjoyable, but neither would I say that it's especially well written or developed. And a good deal of this is down to the mysteries being terribly unfair and a lot of the tales being short stories that simply didn't have the time to properly develop. The facts and relevant clues of the case are usually withheld until such time that Holmes is explaining how he'd divined the correct answer. Worse still, Holmes immediately zeroes in on any and all relevant information, meaning that there's little tension. In a Study in Scarlet he figures out the culprit's physical description within minutes of arriving on the crimescene and handcuffs him within moments of seeing him in person. There's no suspense and there's no mystery. Admittedly, however, the series predates the convention of leaving breadcrumbs for the reader. With that being said, I found that the most enjoyable of the stories was Hound of the Baskervilles, in which Holmes had the least involvement and we instead see Watson reporting on everything he observes for much of the novella.

For me, the series kinda falls into the same category as Citizen Kane: It's worth looking at to appreciate its influence and legacy, but you have to go into it understanding that because of that influence it comes across as very dated.