Review Category: Books

It is fair to say that Penguin have a lot of confidence in their new author Martin Stewart. Despite Riverkeep being his debut work, the publicity material surrounding this well-hyped novel is happy to mention him in the same bracket as tried-and-tested luminaries of Young Adult literature like Neil Gaiman, Phillip Pullman and Patrick Ness. So is this comparison too quick to judge or perfectly apt?

The book focuses on 15-year old Wulliam, who is the reluctant ‘Riverkeep’; the lone soul tasked with tending to the waters and fishing corpses out of the depths. However, when his father is possessed by a dark water spirit, he must journey further than he has ever gone before to capture a fearsome mythological sea beast – the mormorach, which is said to be able to cure his Pappa’s illness. In short, it’s The Wizard of Oz by way of Moby Dick.

For anyone who loves a good old-fashioned quest narrative, this is a real treat. Stewart’s prose is atmospheric and evocative, and the never-ending river – with its neighbouring lands and inhabitants – makes for an engaging setting. World-building is not a major part of the novel, but it works in the story’s favour to leave the supernatural elements of this place mostly without explanation.

Likewise, many of the characters are well-written and colourful. Wull’s infected father, for instance, is simultaneously heart breaking and terrifying (and a little bit like the foul-mouthed Father Jack off Father Ted). However, the book’s MVP has got to be Mr Tillinghast; a Frankenstein’s monster version of Oz’s Scarecrow, with a sense of humour as blue as his face.

On the other hand, the story is a little slow to start and the adventure you are reading the book for doesn’t really begin until a third of the way in. As such, there is a juxtaposition of tone; the book’s first act being more of a grim horror story, while the rest is lighter and faster-paced. Once it gets going, though, Stewart has a strong handle on the material, as the book seamlessly segues between moments of levity and bleakness. Seriously, there is a lot of death in this novel. In terms of characters grieving for lost loved ones and actual rotting cadavers.

So was the high praise deserved? With Riverkeep, Stewart has come out of the gate running (or, more appropriately, rowing) and, though the book isn’t completely faultless, it is a very impressive debut which suggests great things to come for the writer. Upon the basis of this novel, we look forward to seeing what they are.

RIVERKEEP / AUTHOR: MARTIN STEWART / PUBLISHER: PENGUIN / RELEASE DATE: OUT NOW

Art Books are rarely a chore to sit down with; even for the most casual of readers they immerse one into a whole world of vision, imagination and concept. However, never is this more the case than when said book is covering such an outstandingly innovative and impressive feature like Disney’s Zootropolis. Released earlier this year to wholly justified universal acclaim, Walt Disney Animation Studios’ latest film was a beautifully animated, deeply written and constantly enjoyable gem, boasting a wonderful message of acceptance and equality in these turbulent times (even more so now, than mere months ago when the film was released!). So, how did we find sitting and re-visiting this classic film? What did we learn of its making? And is Chronicle Books’ The Art of Zootropolis a worthy companion to the film?

Well the latter question is answered practically on opening the book or glancing at its cover…yes! The Art of Zootropolis is a splendid companion to Disney’s brainy and heartwarming animated imaginationland. With a preface by John Lasseter, a foreword by directors Byron Howard and Rich Moore, as well as some accompanying comments to the artwork throughout. Comments from the likes of Dave Goetz (production designer), Jim Finn (visual development artist) and Cory Loftis (art director of characters), ensure that this book gathers the insights of a clearly enthused crew and provides some keen glances at the development of this years best animated picture. The crew’s observations and comments on the progression of characters like Judy Hopps (originally far less confident) and Nick Wilde (the first character developed), as well as supporting players like Gazelle and Clawhauser are interesting, as they point to the growth of the character through either the scripting process or the method taken of realistically animating the various characters and breeds of animal onscreen.

The images are wonderful, with the character art being nice but the real selling point of this well presented book is the mapping of Zootropolis itself and a look at some things that made it to the screen in passing, as well as many things that didn’t. The mapping of the multi-zoned city is the kind of thing you hoped would be released when you saw the city for the first time onscreen. The environments are even more savored when looked at methodically and the book is plastered with clever little pop culture twists (signs re-jigged to be more animalistic) and environments rendered to give that feel that they were constructed by and for animals. In fact in John Lasseter’s preface he states that the filmmakers “did not want to design just a human world with animals in it” and that un-human construction is visually omnipotent in the artwork and the finished motion picture. The art in this book is brilliant and the environments from the various sectors of Zootropolis are wondrous in their detail and scale.

However, perhaps even more noteworthy is, in the introductory ‘Creating Zootropolis’ chapter, hearing about the early pitches (a film led by a pug bounty hunter and a film centered on a scheming island dwelling cat named Dr. Meow) and how throwback espionage story Savage Seas evolved, through some really dark and diverse ideas, into Zootropolis. It would have been nice to see more early concept work in addition to what is seen in this introductory piece, as well as perhaps some extra material (removable sketches and what not) dotted throughout the book, as a film like this has so many hidden depths that one book is almost not enough to do it justice…as the directors state at one point. However Jessica Julius’ collection of information, art and description still does an utterly fantastic job of bringing you into this animated hit’s breathtaking world and makes you appreciate how it was realised. 

For fans of the film this book is an absolute ‘must have’ and for people who enjoy art books in general we would likewise immediately recommend it. Even those of you out there with a passing interest in the film or animated cinema in general will be intrigued by the work and strive for animalistic realism that went into this film. A book like this makes you value the accomplishment of movies like Zootropolis even more, by showing you the clever little pieces of this cinematic puzzle, some of which you’ll look out for next time you watch the film. As Howard and Moore say in their foreword “Zootropolis is a film about recognizing that our world is complicated, that life is complicated…for all of us.” Indeed it is but films like this turn complication into fascination and this book allows you to become even more enamored by this marvelous world of wild rainforests, stretching deserts, bustling animal utopias and public transport packed with bunnies…if only we could actually live in such paradise unbothered by people!

THE ART OF ZOOTROPOLIS / AUTHOR: JESSICA JULIUS / PUBLISHER: CHRONICLE BOOKS / RELEASE DATE: OUT NOW

Warcraft: Bonds of Brotherhood is the official prequel graphic novel to Duncan Jones’ fantasy epic, Warcraft. Based on the video game of the same name, this is Blizzard Entertainment’s attempt at further exploring Duncan Jones’ vision.

Featuring art by six different contributors, Bonds of Brotherhood is written by both Paul Cornell (Doctor Who) and Chris Metzen (Transformers: Autocracy). The graphic novel follows three main characters from the film – Llane, Lothar and Medivh – decades before the initial orc invasion.

These legends of the Alliance embark on a quest that involves deadly trolls who have been running rampant across villages in Azeroth. Their brief adventure results in a death that has heavy implications for the King and his people, with vengeance being the key theme of the story.

Unfortunately, Paul Cornell’s script is serviceable, at best. The backstory featured in Bonds of Brotherhood fits nicely for the film, but the exploration of these characters is marred by some lazy writing and exposition. Regardless of what transpires throughout the comic, there’s no emotional weight or excitement whatsoever.

Towards the end of the book, Bonds of Brotherhood mentions that trolls were cut from the original film, so including them into the prequel comic sounded great on paper. However, they have just a smidgen of characterisation here, which is awful in comparison to Warcraft’s depiction of its orcs.

Considering the books small length of just over a hundred pages, it’s bizarre that Blizzard happily opted for six different artists. A book so small shouldn’t have that many unless it’s a compilation of different stories. Despite having so many artists, the general style remains the same and major characters are completely interchangeable in their design.

While these artists have at least attempted to capture the look and feel of the universe, Bonds of Brotherhood fails to deliver the same visual quality that the franchise is renowned for. It almost feels like a pure product of the ‘90s, with the line-work and bland colouring. Medivh’s magic looked immense in the film but here it just looks dull and lifeless.

If fans of the film are looking for more backstory on Duncan Jones’ film, then they’ll be better suited with the prequel novel; Durotan. Bonds of Brotherhood feels more like a blatant cash grab if anything, which is clearly overpriced for its short length. There’s just no genuine surprise or entertainment found here, which is unfortunate considering how Warcraft has been received from most of its fans.

WARCRAFT: BONDS OF BROTHERHOOD / WRITER: PAUL CORNELL, CHRIS METZEN / ARTIST: VARIOUS / PUBLISHER: LEGENDARY COMICS / RELEASE DATE: OUT NOW

After eight long years, cult videogame Mirror’s Edge finally received its anticipated sequel. Produced by EA DICE, Mirror’s Edge: Catalyst improves on its free-running foundations, and provides a reboot for the series. For fans of the game, Dark Horse has published The Art of Mirror’s Edge: Catalyst, showcasing the creation and realisation of this new game.

Each page in the book promises never before seen artwork, with commentary and insight from the creative team. The original game design is explored throughout the book, along with cityscapes, character concepts and costume design.

For fans of Mirror’s Edge, they’ll be happy to know that EA DICE thoroughly explored the futuristic themes of the first game with a desire to retain the original flavour for this reboot. In this book they provide examples of their inspiration, and how they progressed with their very own reimagining.

The main character, Faith, has a selection of pages devoted to her. Concept designs showcase different hairstyles, along with her iconic red glove and shoes. A number of different options for Faith’s athletic style adorn these lavishly printed pages, with small annotated paragraphs from the artists.

The Art of Mirror’s Edge: Catalyst also features small storyboard sections, which are devoted to the movement of the free-runner. They’re nicely displayed, and they have an almost kinetic feel to them. Unfortunately, the small use of these storyboard layouts presents a desire to see more. They’re not often seen in video game art books, and they’re more than welcome here.

The book truly shines with its character concepts, showcasing a wide variety of fashion pulled straight from an exclusive science fiction fashion show. These stylish characters are designed by DICE regular Per Haagensen, and the book simply flourishes with his art.

Oddly enough, readers will not see Haagensen’s work credited on a single page. He’s mentioned on a list of contributing artists, but it’s disappointing to find that not one concept artist is attached to any of these pages. Even the annotations feel very impersonal, as if they’re not from one specific illustrator.

The Art of Mirror’s Edge: Catalyst does a decent job at showcasing its concept designs, and even fashion designers may admire the clothing portrayed throughout. However, the book is in dire need of some preliminary sketches, which would help expand on the process leading to the final image.

Fans of the series may appreciate some sections of the book, but Dark Horse’s art book feels like it could easily add plenty of drawings and interesting storyboards. The game is renowned for its unique visuals, and whilst an attempt has been made to recognise that, the art book just leaves readers longing for more.

THE ART OF MIRROR’S EDGE: CATALYST / PUBLISHER: DARK HORSE / RELEASE DATE: OUT NOW

Ultra-violent and unrelenting, Bethesda and id Software’s Doom has been a huge hit with fans. Returning to its explosive roots, the new Doom features its trademark design and atmosphere of terror. Thankfully for fans of this visceral horror shooter, Dark Horse provides an exclusive look into its concepts in their new book, The Art of Doom.

Lavishly produced in an oversized hardcover, The Art of Doom features five different chapters full of never before seen concepts, focusing on demons, environments and weapons. Edited by Ian Tucker, the book is certain to please fans of the series.

An introduction from executive producer Marty Stratton and creative director Hugo Martin promises an in-depth look into their production of Doom, which they quote gushes “personality and a sense of humour”. As readers can easily tell from the direction of Doom, they’ve managed to capture the look and feel of the old game whilst injecting this new hyper-realism to it.

The art book has an impressive range of concept designs, which focus on the very first stages of character development sketches, to complete final renders. The renders alone provide a whole new appreciation for the effort put into the iconic shooter, as it just shows us how far video gaming has truly come in recent years.

Doom has always been recognised for its unique landscapes, and that part of the book boasts around 80 pages of beautifully put together scenery. For some reason, a few landscape concepts have been blown up across double page spreads, which results in a slightly pixelated image. Unfortunately, that’s rather common with Dark Horse’s art compilations.

Still, the book is carefully crafted to showcase a decent variety of what went into the video game. Character designs are a delight to look at too, with a showcase on the characters used in the troubled multiplayer mode. One of the many highlights also includes a look at the unique demon, Pinky.

Despite the introductions from the art team, it still feels like the book could have benefitted from annotations explaining the design process of several concepts. Admiring the imagery is one thing, but some further insight into the developmental process would help fully realise the artist’s vision.

The book also feels like its missing information about the game’s lore, especially throughout its later chapters. A few pages focusing on Hell is great for fans, but perhaps an exploration of its main themes would improve on the contents.

Nonetheless, it’s still a worthy purchase for fans of the video game. The Art of Doom might feel like it could do with a little more content, but it’s still chock-full of awesome concept designs that will keep art book aficionados happy.

THE ART OF DOOM / EDITOR: IAN TUCKER / PUBLISHER: DARK HORSE / RELEASE DATE: OUT NOW

Vigil is the first novel in the new Verity Fassbinder series by Angela Slatter. This is Angela’s first full- length novel and focuses on an alternative version of her own hometown of Brisbane. Angela has gained a reputation over the years as a writer of dark and horror fiction. Although this novel is not a complete horror story, it does contain some dark elements.

The story follows Verity Fassbinder in an alternative form of modern day Brisbane. Verity is the daughter of a human and a Weryd, which enables her to have strength, as well as granting her the power to walk between worlds. The Weryd must remain hidden from the humans, so Verity is given the task of ensuring peace remains, whilst also ensuring the Weryd are hidden from the mankind. Through a series of events, a destructive force is seen in Brisbane, which threatens the existence of the whole world.

The story is told in the first-person, which allows the reader to explore the character of Verity and really get to understand the character by the end of the novel. Although this is a start of the new series, it also stands on its own and is a great mythical read. The story seems to cross many genres, which Angela Slatter manages to handle very well. Whilst it is set in modern day, it does have fairy tale elements, as well as a slight horror setting. The story is also partly fantasy, with a slight lean towards epic fantasy with the evil force being released.

The novel is a brilliant start to what promises to be an enjoyable series. Although it can have a slow pace at times, this is crucial for character development and Angela Slatter does not waste any pages and always ensures the characters have the opportunity to develop. Angela has set the scene for the rest of the series, by offering an original and fresh tale encompassing many genres that will enthral all readers alike.

VIGIL / AUTHOR: ANGELA SLATTER / PUBLISHER: JO FLETCHER BOOKS / RELEASE DATE: 7TH JULY

Dru is a minor sorceress eking out a living selling magical crystals and charms to anyone who wanders into her tiny store, while epic battles against the forces of darkness rage unseen elsewhere. In walks the cursed but ruggedly hunky Greyson and Dru is suddenly thrust into a ceaseless race to prevent the end of days from being unleashed upon an unsuspecting world.

Unlike many fantasy authors who spend a sizable chunk of their work crafting an elaborate world of painstaking worldbuilding, MacNaughton instead launches directly into a fast-moving tale that barely relents until its final pages. There is still the feel of a larger magical underworld out there, but it will be for any subsequent volumes in the series to start exploring it in any way.

The chapters are short and quick blasts of action – they feel a little like the issues of a comic book series – and keeps things rattling along at a swift but nevertheless sustainable pace, so much so that the reader is almost as perpetually bewildered at the speed of developments as Dru is. The apocalyptic shenanigans the title promises take a while to fully materialise, but once they do a greater sense of urgency is added to proceedings, and the already high gear of the tale is kicked into overdrive.

As the story uses the simplest of urban fantasy setups – magic exists; only a few can use it; most don’t believe in it – much of the true extent of everything that’s out there remains only vaguely sketched, but the realisations of demonic antagonists are suitably creepy and signify enough imagination that we can expect to encounter more than basic mythological creatures later on in the series.

Other than the central duo of Dru and Greyson, the few characters along for the ride such as snarky shapeshifting warrior Rane and Dru’s ever-practical assistant Opal, are interesting enough to keep you engaged and likable enough that you care about what happens to them. The relentless dynamo of the book’s structure means that some necessary characterisation gets lost amidst the frenetic chaos, leaving some late character revelations without the required level of development, but it doesn’t detract too much from the fun of the rest of the story.

It Happened One Doomsday is a simple and straightforward read that doesn’t tax brain power in any way but is also a fast and fun ride that keeps you entertained all the way through its unyielding mayhem.

IT HAPPENED ONE DOOMSDAY / AUTHOR: LAURENCE MACNAUGHTON / PUBLISHER: PYR / RELEASE DATE: JULY 12TH

 

To a certain group of fans (of which this reviewer is one) Target’s Doctor Who book range was an integral part of their childhood back in those heady days of the 1970s. These were the days before the rise of home video, the advent of DVD and VOD, where if you missed an episode of your favourite programme on the three channels available (yes that’s right, just three TV channels), then you had to hope it would be repeated in the summer. In the case of Doctor Who, repeats were scarce at best. Thankfully Target offered a sliver of salvation with missed episodes and parents memories of Hartnell and Troughton stories with their range of Doctor Who novelisations.

The Target Book: A History of the Target Doctor Who Books tells the story of how a minor, insignificant publisher’s imprint became a powerhouse in the world of children’s books and the problems it encountered from its inception in 1973 until its demise in 1994. Originally published in 2007, this new hardback edition has been expanded and improved with errors from the previous edition having been corrected.

The book itself is a treasure trove of gorgeous artwork, particularly Chris Achilleos’ book covers that became synonymous with the range, and his involvement is covered extensively. There is also a wealth of unused and rejected artwork and how one artist found inspiration for his cover of The Space Pirates after seeing Tom Selleck in Runaway on a cover of STARBURST Magazine. Along with the main text, there are exhaustive sidebars that cover the writers, editors and other contributors that made the books a publishing phenomenon. There’s some surprising revelations too, such as how Terrence Dicks’ novelisations were often cruelly received by fans, and how authors of the early books would use the opportunity to flesh out their own scripts before publishing time constraints put an end to any such creativity.

This book is an indispensable guide to anyone who grew up with, and feels nostalgic towards, these books. Indeed, there are quotes dotted throughout the book which will be immediately familiar to readers, such as ” … he had a pleasant, open face…” or “… as if some vast primitive being were in torment…” Even the chapter headings of this book mimic those of the novelisations, such as Countdown to Doom and The Terror Begins.

For a generation, the Doctor Who novels were the gateway into reading for pleasure and an introduction to broadening one’s literary experiences. Indeed, this reviewer went on to discover the likes of Bradbury, Asimov, Philip K. Dick et al., and all because of an alien who travels in a blue box through time and space.

THE TARGET BOOK: A HISTORY OF THE TARGET DOCTOR WHO BOOKS / AUTHOR: DAVID J HOWE / PUBLISHER: TELOS PUBLISHING LTD / RELEASE DATE: OUT NOW

Criminal prodigy Kaz Brekker is offered riches beyond his wildest dreams in exchange for leading a deadly heist. With a crack team of oddball outcasts including a magical Heartrender with a debt to repay and a woman who can practically walk on air, Kaz and his crew set out to retrieve a weapon that could alter the fate of the world.

Being marketed as Game of Thrones meets Ocean’s Eleven, Six of Crows sports the novel idea of a heist caper set in a high fantasy world. It has much more going for it than just a nifty premise, however, as Leigh Bardugo’s writing is filled with snappy dialogue and memorable turns of phrase – and her world building is second to none. As opposed to the Tsarist Russia influence on her previous books, the Grisha trilogy, Kaz’s home of Ketterdam is like Victorian London crossed with Amsterdam, with dodgy dealings and danger lurking around every corner.

Speaking of the Grisha books, Six of Crows is something of a companion to those, as it is set elsewhere in the same world. Despite this, it is perfectly possible to thoroughly enjoy it without having read the other series. That said, it wouldn’t hurt to know something about this world and its peoples and politics before going in.

If some of the terms go over your head at first, though, the book is populated with a bunch of compelling fresh characters to latch onto. A novel like this hinges on the success of its cast of rogues, and Six of Crows soars thanks to the well-roundedness of Kaz and his crew. Over the course of the story, we get increasingly under their skin as we follow them through the direst of situations and witness romantic attachments develop. You really are sad to let these guys go by the end. Fortunately, there is the promise of more to come, with a sequel titled Crooked Kingdom already confirmed.

Whether you are a fan of anti-heroes, character-driven fantasy or heist stories, you need to get hold of Six of Crows. It is simply a stunning novel that succeeds in just about everything it aims to do, as the whole operation is crafted with a lot of care and a deft (and occasional sleight of) hand. Just as a good heist should be.

SIX OF CROWS / AUTHOR: LEIGH BARDUGO / PUBLISHER: ORION CHILDREN’S BOOKS / RELEASE DATE: OUT NOW

Dracula has been done to death by now, hasn’t it? We’ve seen so many different versions of good old Vlad the Impaler that it’s rare to see an original take on the character. And I Darken pulls off this minor miracle with a simple and clever approach.  This is an origin story that begins with the birth of a would-be monster, but rather than Vlad, the child is Lada Dragwlya. Much to the disgust of the father, this baby is a girl, and yet as it turns out, every inch the monster we expect.

There’s a current cliché in young adult books that the main character has to be strong and female. Yet one of the more common mistakes is to mistake the idea of ‘strong’ with violent and uncompromising, creating instead a rather bland and generic character who has no interesting perspective on the world. And I Darken tackles this cliché head on, not by weakening its lead, but by tackling the consequences of being stubborn in a dangerous world.

Lada (along with her little brother Radu), grow up in a difficult world. Her father is a cruel and vicious man, and sadly not a terribly clever one. It’s tough to be a king in 15th century Transylvania after all. Radu is clever, sensitive and smart. Lada, seeking the approval of her father, is powerful, pragmatic and cruel. As the pair mature, they both learn important lessons in power, and the book explores the different uses of strength, from the power of a well-placed word to the utility of the fist. The story is quickly paced, and balance the themes of politics, religion and self-awareness throughout the tale.

As a protagonist, Lada is not a terribly sympathetic one, but she is very, very believable and utterly compelling. The reader is caught up in her every love, every hate and every broken trust. As the mighty Ottoman Empire twists and changes and Lada and her family struggle to find their place in the world, it’s impossible not to feel for Lada. Though the book is marketed as an ‘Anti-Princess’ tale, it isn’t really. This is a story of a strong person who tries to take on the world without truly understanding how much of themselves they will have to sacrifice to achieve that goal. It’s a great read, and we’re looking forward to the inevitable sequel.

AND I DARKEN / AUTHOR: KIERSTEN WHITE / PUBLISHER: CORGI CHILDRENS / RELEASE DATE: JULY 7TH