Brainycat's 5 "B"s:
blood: 3
boobs: 1
bombs: 4
bondage: 1
blasphemy: 1
Stars: 3
Bechdel Test: PASS
Deggan's Rule: PASS
Gay Bechdel Test: FAIL

Please note: I don't review to provide synopses, I review to share a purely visceral reaction to books and perhaps answer some of the questions I ask when I'm contemplating investing time and money into a book.

When I started this book, I was using an AG2 running MoonReader. My pageview wasn't setup to include page or screen counts. I had no idea this book comes in at over 1000 pages (according to Amazon's count), and to be honest if I'dve known that I probably would've DNF'd at 10%. I didn't figure out it was so long until around (virtual) page 250 and I thought to myself, "This has been going on for a long time, and yet more complications are being added and nothing is getting resolved - how is this going to get wrapped up?" By that time I'd become invested in a couple of the characters, and my ego decided to make this into some sort of titanic battle of my will to continue vs. Mr. Stephenson's verbosity.

My ego won. Despite a catastrophe with my AG2 with 100 screens left to go, I finished the book. Do I feel edified? No. Entertained? Meh; there was some great parts and there were a lot of very long stretches that needed an editor's red swipe. Accomplished? You betcha.

There are 4 different 250 page thrillers in this book. Any one of them could stand alone and do well with the techno/thriller/pre-cyberpunk crowd that Neil writes for. Smashing the four of these together was ambitious, and I feel like I understand why Mr. Stephenson felt like this book needed so many storylines, but I don't know if it really needed to be this complicated to say what he was trying to say. I value brevity and succinctness[1] and Reamde had very little of either. Choosing a single plot thread, then backing it up with hints and wisps from the other plotlines would have made for a much stronger product in this reader's opinion. The fact is, some of the plotlines were weak and needed inordinate amounts of filler to shore them up and try to get them stand on their own.

And therein lies the crux of my problem with this book. There is way too much filler. At least 250 pages worth of unnecessary asides and descriptions could be wiped from the book with no detriment to the plot whatsoever. Here's a short list from the top of my head of some descriptive passages that went on for several screens without any advancement of the plot:
    Setting up a TOR node on a shared PC
    Lore regarding grizzly bears' ability to smell
    Building a secured cell inside an RV
    Querying a database
These would all be great if I were looking for documentation on any of these topics, but I wasn't. And that's just what I recalled with a few seconds of effort; the whole book is peppered with a level of detail that is wholly unnecessary.  I was trying to enjoy a story about an unlikely band of characters thrown together by fate and trying to outsmart a caricature of the 21st Century Boogeyman: A dark skinned jihadist who looks and talks just like middle class white folks.

To make these wildly different characters get vested in the same outcome required some serious shenanigans on behalf of the writer. The terms "contrived", "outlandish" and "almost ridiculous" come to mind. Of course the world is full of amazing coincidences and near misses; but relying on whole consecutive steps of unliklihoods to drive a plot feels more appropriate to a comedy of errors than a techno thriller. The characters in this book move through a bubble where normal statistics don't apply. It was fun for the first few hundred pages, then it became tiresome, and by the end it was just another annoyance I had to put up with to get to to the finish line.

The characters themselves don't feel like they're "getting lucky", but neither do comic book heroes. All our main characters are interesting in their own right, and voiced well, but there's a very strong sense the characters get moved around and motivated according to the outline the author sketched before writing the book, rather than organically going where they need to go. Characterization, never one of Mr. Stephenson's strong points, isn't weaker in this book than in the others I've read but it feels like it's worse because it goes on for so long.

I liked the different settings, and the scene building was handled very well. I felt like I had a sense of place in all the locations. The settings were "voiced" like a character, and lent their own flavor to the parts of the story they related to. I wouldn't say the scene building was vivid (except where descriptions went on too long) but it was very evocative. A good chunk of action happens in Seattle, and having lived there for a number of years I can say that he captured the feel of the town and the Cascade Mountains perfectly. I can only assume he was as accurate with the other settings.

The finale, like the rest of the book, was way too wordy and took way too long to wrap up. I wanted to hurry up and finish it just to find out who pulled the trigger that killed the Big Bad Guy; I was still invested in some of the characters but I had no expectations that they would suddenly arc in a surprising direction. By the time the final gun battle shapes up, all the characters are finally in place and it felt like it was just a matter of putting words into my eyes until I reached the end of the book.

I'm feeling a difficulty trying to rate this; my enjoyment of the book declined the closer I got to the end. The beginning was everything I expected from this author and I was set to star the heck out of it, but then it just went on way too long without doing anything clever. In a lot of ways, this book is like that guy you work with who's really smart and mildly autistic - it just drones on and on about the minutae of some inane topic despite every cue that you're ready to wrap up the conversation.


[1] But I don't like poetry - go figure

Brainycat's 5 "B"s:
blood: 0
boobs: 5
bombs: 0
bondage: 4
blasphemy: 0
Stars: 4
Bechdel Test: FAIL
Deggan's Rule: FAIL
Gay Bechdel Test: FAIL

Please note: I don't review to provide synopses, I review to share a purely visceral reaction to books and perhaps answer some of the questions I ask when I'm contemplating investing time and money into a book.

I finished this a while ago, I'm not sure why I didn't get a review done sooner. I got a recommendation for the book from a friend on GR and after checking out the synopsis I got a copy. This is a hot little bit of smut, the plot is character driven so it doesn't read like a litany of sexual gymnastics. The characters don't grow very much; it's a short story and there isn't much time for the characters to arc. Their relationships are changed by the end of the story though which is what I expect for this sort of thing. As erotica goes, this is certainly better than most of the swill out there.

Brainycat's 5 "B"s:
blood: 4
boobs: 0
bombs: 2
bondage: 2
blasphemy: 1
Stars: 3
Bechdel Test: PASS
Deggan's Rule: FAIL
Gay Bechdel Test: FAIL

Please note: I don't review to provide synopses, I review to share a purely visceral reaction to books and perhaps answer some of the questions I ask when I'm contemplating investing time and money into a book.

I finished this at least two weeks ago and I'm just getting around to putting a review up. This is a very short story, and while it is very well written - I was completely transported into the scenario, and the action was paced perfectly - there was nothing original in the way it played out. Every motivation, plot device and twist I've seen done dozens of times. But the author knows how to draw a mental picture and move characters around and there's a lot to be said for the comfort of familiarity. I'm giving this three stars because the author had the good sense to wrap this up before it got repetitive.

--edit-- Added my rating template

Brainycat's 5 "B"s:
blood: 3
boobs: 2
bombs: 2
bondage: 2
blasphemy: 3
Stars: 2.5
Bechdel Test: FAIL
Deggan's Rule: FAIL
Gay Bechdel Test: FAIL

Please note: I don't review to provide synopses, I review to share a purely visceral reaction to books and perhaps answer some of the questions I ask when I'm contemplating investing time and money into a book.

I DNF'd at 58%. The last third of what I read I was literally going chapter by chapter, looking for a reason to keep going. I never got a specific reason to stop the book - Instead, I got to a point where I realized if I'm trying this hard to find something engaging I'm clearly not having much fun. I started the book with really high hopes from all the great reviews I've seen, I really liked the premise and eventually I developed a bit of a crush on the main character Vic McQueen. Overall, though, the characters felt like they hardly have any interiority - they existed to effect each other, but did very little to affect themselves. The only character who is making things happen is the Bad Guy. It's like a pool table - there's only one cue ball, the rest of the balls just react to what it does.

This book is way too wordy. With some proper editing, this could've been cut down to a shortish novel sized book and I'dve finished it and given it more stars. But it wasn't. It's not quite as bad as Robert Jordan, but very nearly. One example that had me WTFing out loud was the story of a night time security guard (think "red shirt") at a hospital. The salient part of the plot is that Bad Guy is going to make a move from point A to point B through the hospital. The part we get to read about is a whole backstory on the nighttime security guard, the intimate details of the sexual relations he has with one of the nurses, and his troubled relationship with his uncle and supervisor. I don't need to know all this, and if the author just wanted to drop in some prurient sex he could've done us the favor of at least writing explicit sex scenes. The whole book is full of pages of unnecessary backstory and color that are all well crafted, but so irrelevant they each detract from my enjoyment of the book.

But so many opportunities to provide meaningful and subtle dimension to the characters were skipped. The most glaring example that comes to mind is Vic's tattoos - she's got a number of them, and even did a sleeve after coming out of rehab. What images did she choose? Where did she put them? Who did the tats? At one point, we find out she has a picture of a V6 over her heart. Sure thing dear author, don't strain yourself too hard with that one ok? Otherwise, there's no mention of them other than to illustrate that she could be considered a harlot by people who don't know any better.

While there's way too much pontificating about irrelevant people and places, the foreshadowing is as blatant as young kids' lies. You can see it happening - somebody does something with something, and it's like it's lit up under a spotlight: "This Thing Will Be Important To The Plot Later". Yawn. Please, challenge me - surprise me and make me think. If I wanted to vegetate, I'd watch TV. "The Walking Dead" also uses too many words to scarcely advance it's plot, so an author needs to give me a better reason to read their book instead of crushing all over Danai Gurira. Related to this, we find out that the "find my iPhone" app can tell you when the device in a magical alternate reality - and even draw a map of the whole territory. Seriously? What is the name of the trope where the Magic Amulet solves all the problems and advances the plot through all the gooey Character Development and straight into Final Battle?

A major part of our heroine's makeup is her alcoholism. This is a topic near and dear to me as I have 6yrs+ sober. Her addiction was handled as a plot complication but I never got to know about her struggle and how it evolved her. Also, just out of a 30 day rehab and she's "working on her 8th step". I'm not an expert on 12 step programs; my sobriety takes a different path but I know from years of exposure that it takes many months of sobriety before someone is ready to do that work. This was yet another example of the author using traits without showing the proper research. To be fair to him, though, I see this all too often in books, tv and movies - recovery isn't portrayed well by people who haven't been through it. I looked up the author to see if I could find anything regarding his own experience with addictions and I discovered this he's the son of Stephen King. This explains everything; it seems clear to me that he learned how to write best sellers from his dad, and also picked up some of his dad's bad habits. He no doubt watched his father go into recovery and learned the lingo that way.

This is a very pretty book, a very easy to digest book, but it just doesn't have any impact. I'm writing this conclusion about a week after I gave up on it and I'm struggling to remember anybody interesting except Vic McQueen, who got shortchanged by the lack of character development. It's not particularly horrific, it's not particularly interesting and all but one of the characters aren't memorable. It is well written with a superior command of the language, but if I were the editor I would have sent it back for a couple more revisions. Overall, it feels like way too many pages of phoned-in filler.

EDIT: And once I post it, I suddenly remember who the Bad Guy reminded me of: His look and mannerisms are a total ripoff from Vincent Cassell's character in Sheitan.

Brainycat's 5 "B"s:
blood: 4
boobs: 0
bombs: 1
bondage: 0
blasphemy: 0
Stars: 2
Bechdel Test: FAIL
Deggan's Rule: FAIL
Gay Bechdel Test: FAIL

Please note: I don't review to provide synopses, I review to share a purely visceral reaction to books and perhaps answer some of the questions I ask when I'm contemplating investing time and money into a book.

I DNF'd this at 10%. This feels like a YA book; all the POVs (except one) are of kids and it looks like they're shaping up to be the main characters. The only exception is a maternal warrior character a'la Ripley. The writing is solid - though made of small words and short sentences - and the plot is based on an interesting premise. I think it could be a good story, but YA isn't for me.