Editorial Reviews for Nominees
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 Score: 91/100 (9.1 out of 10)
Taking Time is the first installment in Mike Murphey's Physics, Lust, and Greed series. The novel is a fascinating blend of speculative science, humor, and complex human dynamics. The story dives into the lives of characters embroiled in a time-travel project, blending the speculative rigor of theoretical physics with the raw realities of personal ambition and relationships. Through protagonists like Marshall Grissom, the narrative offers a humorous, sometimes awkward lens on high-stakes scientific endeavors, complete with corporate espionage, sabotage, and the ethical dilemmas of altering time. The writing stands out as unique for its sharp wit and complex plot (arguably overly complex) that keeps readers questioning motives and outcomes. This is not just a sci-fi tale but also a commentary on human flaws, courage, and the messy intertwining of personal and professional lives. We were first introduced to the series via Book Four in the series: Quantum Consequence, which was—quite frankly—one of the weirdest and most bizarre novels we've ever read. That's no exaggeration. Quantum Consequence seemed like it was crafted under the influence of Adderall, Ritalin, LSD, and Magic Mushrooms all at once. It was a mind trip novel. There were so many strange, weird, bizarre, and random story elements from the Android Judy Garland, President Leviticus Deuteronomy Humphollar (i.e. Donald Trump), the all-powerful and Evil Amazon and its mighty distribution center (despite the humorous fact that the book was for sale on Amazon), universes/timelines named after old sitcoms (like I Love Lucy), and a seemingly random side-plot about some abused kid who loves spearfishing and is in the middle of a custody dispute with his abuser. In Quantum Consequence, the core characters (like Marshall and Marta) were completely lost and overshadowed by all of this wackiness and craziness. They were practically afterthoughts in their own series because it had gotten so out of hand, went so far off the rails, and totally jumped the shark. With all that said, Taking Time is a far more grounded and reasonable novel, but that's like saying Naga Viper Peppers are far less spicy than Dragon Breath Peppers. Either way, you're gonna get your mouth burnt. This is a really strange and wacky series, and Taking Time effectively sets the stage for that by introducing us to the core characters who—like we said—really got lost in the mix in Quantum Consequence. This honestly made us appreciate them a bit more. Marshall Grissom is a socially awkward and self-conscious man who unexpectedly becomes one of the first human time travelers. His sense of duty and moral compass contrast with his humorous struggles with the challenges of time travel and interpersonal relationships. Marta Hamilton is a calculated and focused woman with a background in espionage, working covertly as a spy for MI-6 within the time travel project. Her objective approach to her role hides a sharp and decisive nature. Sheila Schuler is a confident, intelligent, and stunningly beautiful woman who is also part of the time travel team. Sheila's charisma and brains make her a standout, but her complex personality hides a subtle cynicism. This book also, thankfully, has a clear in villain in Andrew Gormly, a duplicitous corporate figure working for the Hemisphere Investment Group. His involvement introduces an element of greed and sabotage, reflecting the darker motivations behind the project. There's also an evil janitor and reptilian/amphibious people, but we'll get back to that... Anyway, this book gets off to a rough start. It's unfortunate because it eventually develops into something rather adventurous and fascinating. The first quarter of this book seems overly fixated on the sexual relationships, sexual thoughts, and sexual escapades of these characters, particularly Marshall and Sheila. It's so distracting and unnecessary, taking the focus away from the time-traveling plot. We think that it was intended to be humorous and humanizing, but it came across as awkward. There are also so many weird, needlessly sexual scenes like when the women restrain Frank to a bed frame and have to strip him (to make their scheme believable), only to find that he goes commando. It's really goofy and hard to take seriously, like a lot of this book. There's also a parallel universe/timeline in this book full of reptilian and amphibian-like people called “Reptilian Americans” and “Amphibian Americans”--probably a thinly veiled satire of how races are segregated in American culture. Bizarrely, Marshall finds himself intensely attracted to the reptilian nurse in this universe/timeline. Yes, really. So, the message we get is that Marshall is the kind of character who would sleep with anything that moves, not exactly endearing him to us. Now, that's not to say that there's nothing good or even great about this book. There are actually a bunch of good and great things about it. For example, perhaps the best plot-thread that runs throughout this book is that of Marshall's childhood best friend (and probably first crush), Samantha “Sammy” Kennedy, who tragically died. This character and this event haunt Marshall in a truly emotional way that resonates more than anything else we've read in this series. He's constantly haunted by questions of whether or not he can intervene, save her, or at least try to warn her. As you might expect from time-travel stories, whenever you try to influence events in the past, you end up creating a butterfly effect that could potentially make things worse, potentially resulting in even more deaths than the one you may have been trying to prevent. Another surprisingly good thing in this book is that the alternate universes/timelines, which seemed weirdly named after sitcoms in Quantum Consequence, are actually better explained in a way that makes some sense. Specifically, it seems like the book is saying that the reason the time-traveling scientists decided to name the universes/timelines after sitcoms is because radio waves from the broadcasts of these sitcoms can be detected and tracked across universes and timelines, as long as that sitcom exists there. Now, that kinda makes sense, though it's still a little silly. It's interesting to note that Gunsmoke is one of the broadcasts that gives these universes its name because we literally have an exhaustive guide to the show Gunsmoke in this contest (written by Ben Costello). It makes sense that you might want to track a timeline based on a show that ran for twenty whole seasons! Check out this book on Amazon if you're into time-travel stories and satire!
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 Score: 96/100 (9.6 out of 10)
Gunsmoke: An American Institution by Ben Costello is a comprehensive tribute and guide to the legendary television series Gunsmoke! Running from 1955 to 1975 with a total of 635 episode, Gunsmoke remains the longest-running TV Westerns in history and one of the longest-running TV shows OF ALL TIME (PERIOD)! Its longevity and popularity stem from its compelling storytelling, memorable characters like Marshal Matt Dillon, Miss Kitty, Doc, and Festus, and its ability to adapt to changing times while staying true to its Western roots. Few shows in the genre have achieved the same cultural impact and sustained viewership as Gunsmoke. Spanning over 600 pages, Costello's book provides an exhaustive overview of the series, including behind-the-scenes anecdotes, interviews with cast members like Dennis Weaver and Burt Reynolds, and hundreds of photographs. It also features memorabilia, cast recipes, and a complete guide to all 635 episodes and the follow-up TV movies. Written with passion and meticulous detail, Costello's work celebrates the show's cultural impact, exploring its transition from radio to television and its enduring legacy as a staple of Americana. With forewords by notable figures like Jon Voight and contributions from Gunsmoke alumni, the book is described as a treasure trove for fans, filled with nostalgia and new insights. It is arguably the definitive book on the series, appealing not only to dedicated fans of Gunsmoke but also to enthusiasts of Westerns and television history. If you’re looking for a richly detailed homage to this iconic series, this book delivers a fascinating look into the heart of Dodge City. Another group of people who may absolutely fall in love with this book are people who are passionate about film-making and television production. That's right! If you want to be a director, producer, actor, script writer, film/TV composer, on-set makeup artist, on-set hairstylist, set designer, cinematographer, costume designer, etc., this book provides all sorts of insight into those roles! The book highlights the contributions of directors who shaped the on-screen storytelling of Gunsmoke. Directors such as Vincent McEveety, Bernie McEveety, and Gunnar Hellström are discussed, showcasing their creative approaches to filming Western landscapes, action scenes, and dramatic moments. Their ability to balance character-driven narratives with the demands of an episodic format is a significant focus. The producers, especially Executive Producer John Mantley, are credited with maintaining the show’s high quality and longevity. We also get a glimpse into how they dealt with the dynamic, demanding, and often tumultuous going-ons of the staff. For example, we explore how it wasn't always smooth sailing on the set. There was tension and disagreements between Amanda Blake (Miss Kitty) and the producer John Mantley. Blake often voiced strong objections regarding location shoots and costumes, particularly the expensive gowns for her character. These disputes escalated to the point where Mantley sought to replace Blake, and eventually, she was let go from the show during its later seasons. Mantley reportedly described Blake as "difficult" and claimed she wanted to leave the series, while others on the set attributed her departure to ongoing conflicts with Mantley. One guest star recounts how he was scripted to have an uncomfortable scene with Blake, but she was encouraging, supportive, and enthusiastic that they could pull it off. Another guest star says how eager she was to finally get to work with Blake only to find the experience disappointing and a bit upsetting. Some guest stars expressed frustrations about James Arness not participating in off-camera work for their close-ups. For instance, Peter Mark Richman demanded equal effort from Arness during their scenes and insisted on professionalism, which Arness ultimately respected and complied with. James Gregory found it unprofessional that Arness did not read lines for off-camera work during Gregory’s close-ups in the episode The Avengers. Gregory voiced his dissatisfaction, which caused a temporary strain. Adam West (yes, THAT Adam West), who guest-starred on Gunsmoke, noted that Arness often left before close-ups for other actors were filmed. West called this lack of participation uncommon among lead actors, contrasting it with his own practices on Batman. Ken Curtis (Festus) had a significant falling-out with Mantley. Curtis rejected a low salary offer for his return in the TV movie Gunsmoke: Return to Dodge and was reportedly furious over changes made to his character in the script. Curtis and Mantley's conflict led to a complete breakdown in their working relationship, with Curtis refusing to work with Mantley again. Nusser was reportedly fired by Mantley after requesting a "pay or play" contract, similar to those of other cast members. This decision highlights Mantley’s strict control over the production and budget. We also get a strong sense of what it was like on set. Some recount how it was actually quite smelly because of all the farm animals (if you've been around farm animals for an extended period of time, you'll know). Humorously, some guest actors had their agents ask to schedule their shootings at a different time of year when the smell wasn't so bad. On the bright side, guest-star Suzanne Lloyd recounts: “I used to love to get up at 4:30 or 5 in the morning and get in the bus or car and arrive on location. The first thing you could smell in that clear, clear air was coffee and bacon and toast cooking so that it would be ready for everybody when we got there. I just thought I was in heaven.” The writers are given particular attention, as Gunsmoke was known for its intelligent and nuanced scripts. The book details how writers like Jim Byrnes, Calvin Clements, and Ron Bishop contributed to the complex narratives and character development in the series. It also briefly needs to be noted that even the music of the show is given some shine. Incredibly, the theme song for Gunsmoke was originally composed by Rex Koury for the radio series in 1952. Koury, who was a concert organist and composer, recalled in 1976 how the theme came together under tight circumstances. On the morning it was due, Koury improvised the composition while shaving, scribbling it onto a magazine page in his rush. Despite the hurried creation, the music became iconic and synonymous with the show. In 1955, lyricist Glenn Spencer added words to the music, although the lyrics were wisely never used in the show's credits. The theme was referred to by some as "Gunsmoke Trail." With that said, the real spotlight of this book falls on the on-screen actors themselves because of course it does! It's really these actors who brought these unforgettable characters to life for audiences across the country. This book features extensive biographies and interviews with the main cast (James Arness, Amanda Blake, Milburn Stone, Ken Curtis) and guest stars (e.g., Burt Reynolds, Jon Voight) provide insight into their contributions and experiences on set. The amount of research, thought, and effort that went into crafting this beautiful book cannot be overstated. Costello put everything into making this the best it could be! What's more? This book is so full of heart, soul, and spirit—an absolute, undeniable passion for this beloved series that has touched so many lives across generations! Seriously! This is how it's done. This is how you take a subject/topic you care about and write everything you can about it. If there's one minor complaint we have, it's that this book seems to be written for hardcore, dedicated Gunsmoke fans who already know a thing or two about it. Thankfully, some of us loved the show or were familiar with it. However, others were a little lost. Part of the problem is that this book jumps right into talking about specifics of the show when we really could've used a small introduction to what it's all about—the broader aspects of it. Some of us had to do our own research to find out what the author was talking about a lot of the time. It also should be noted that this is a surprisingly emotional and even somber book at times, especially if you really love Gunsmoke and the people behind it. It's like saying a final goodbye to an old friend, a eulogy or celebration of life. Looking at some of these photos and reading these stories is legitimately a tear-jerking experience knowing that most of these actors and filmmakers are no longer living and with us. The actors and actresses of Gunsmoke each had unique life journeys, many of which ended poignantly. James Arness (Matt Dillon), the iconic star, passed away peacefully at age 88 in 2011 due to natural causes. Amanda Blake (Miss Kitty), beloved for her role, died at 60 in 1989 from complications of AIDS, attributed to a prior blood transfusion. Milburn Stone (Doc Adams), who portrayed the wise and gruff physician, succumbed to a heart attack at 75 in 1980. Ken Curtis (Festus), known for his comedic and loyal character, passed away at 74 in 1991 from a heart attack. Several notable guest stars also met untimely or dramatic ends. For example, Dennis Weaver (Chester), who transitioned successfully to other roles, died of cancer at 81 in 2006. These losses reflect the passage of a remarkable era in television history, leaving behind a legacy cherished by generations. Perhaps the best way to cope with the weight of these losses is: Don't be sad that's it's over, be happy that it happened. Their memories and their work will live on forever. John Wayne put it best when describing the show and why so many people love it: “They represent our folklore.” Legends never die. Check it out on Amazon!  Score: 95/100 (9.5 out of 10)
Kindred of the Unseen by Micah Beardsley is a rare example of true epic fantasy and high fantasy in a literary world gone simple and soft! This fantasy novel is filled to the brim with impressive world-building including the universe having its own creation myth, history, and folklore. The world features its own unique (and diverse) language, various lands and regions/sections of land that differ in their geography and ethnic makeup, special metals and materials like Avanite/Avranthan steel, and even its own magic system! The language of this book is so unique and different that there are two whole pages of pronunciation guides at the end of this. Be warned: this might be too complicated or advanced for some people, but the most hardcore fantasy fans and D&D nerds may appreciate this. There are also various interesting locations in this book that are highly-detailed and relentlessly described, sometimes overly so. The world of Kindred of the Unseen is a richly layered universe composed of multiple realms, each with its own spiritual and mystical significance. The natural realm, Nandurath, is filled with diverse landscapes like Auburntungle's towering forests and A’risea’s crystalline lakes. Beyond Nandurath lie higher, transcendent realms where councils of light and darkness govern spiritual matters, including the Celestial Senate and the Table of Thunders. Societies are deeply attuned to the metaphysical, with ancient cultures like the Cai'thirí mastering sound for cosmic harmony. There are so many lush forests and majestic waterfalls in this book that it often reads like a tourism ad! We legitimately wish we could visit these places! The land of Kindred of the Unseen is inhabited by a variety of beings, each contributing to its mystical landscape. Humans are central to the story, including warriors, hunters, musicians, and mystics who navigate personal and cosmic struggles, such as Edyndor and Léyondir, who seek courage and spiritual awakening. Among the mystical inhabitants are the Laftzári, luminous caretakers of the Andolothaí Forest, who nurture life-giving trees in harmony with nature. The ancient Cai'thirí, masters of the Kai Theory, wield sound to influence reality and connect with celestial forces, representing profound wisdom. The Shining-Ones, or Yahtlév’yah, are spiritually heightened beings, destined to bring light and understanding across realms. Powerful spiritual beings also reside here, including divine figures like Iáhdé and dark entities like Cyrthron, who influence fates. Lastly, demonic Principalities corrupt the Celestial Senate, wielding dark influence. Each of these groups shapes the conflicts and mysteries within this richly layered world. The magic system is also rather interesting since the world is inhabited and frequently put in peril by sorcerers. Magic, as described in this book, is something that comes from another (spiritual) realm entirely—something unnatural, as Palpatine would say. The book also does a decent job at describing the heights and limitations of such magic. For example, we are told that sorcerers are able to transform into great beasts, however, are most vulnerable in those states because they're limited to the physical constraints of those beasts and are unable to conjure their magic in that state. The world is also full of mythical items like Sovereign, a fiery blade bestowed to Beldrian, the sorcerer-hunter, by King Belanden of Avranthus. It is a bit like Excalibur as far as sword-lores go. This is also a terrific example of how the narrative of this book demonstrates the rich culture of the lore. We are told that, like in Feudal Japan, the giving of one's sword to another person is a gesture of utmost respect and trust. It is like giving someone the means to kill you, yet knowing they won't. Speaking of lore, the book is rich in lore and mythos. We're told about the book's creation myth, which is somewhat similar to Judeo-Christianity including the presence of warring angelic entities like the Shining Ones (Yahtlév’yah) and the demonic-like Principalities. So, the world-building and writing of this book is incredible in numerous ways. At the same time, the book's strongest traits—the world-building and the writing—may actually be to its detriment at times. They're double-edged swords. There are times when the flowery language and highly-specific details and descriptions are captivating, and there are times when they're overdone and excessive. There are times when it really bogs down and slows down the book, disrupting pacing and flow. The author seems to repeatedly stop to describe things like trees, waterfalls, lakes, rocks, and musical instruments. There are whole entire chapters in which the characters are just trying to learn to play a song with those instruments. There were so many times when we just became impatient and wanted the characters and plot to start moving again. Speaking of characters, there are arguably too many. Yes, they're unique and cool (sometimes), but they become difficult to keep track of and a bit hard to care about because the attention and focus of the book is scattered among them. Exacerbating this, a lot of their names are difficult to pronounce and they often travel in groups of other characters. This is arguably an ensemble cast in which the major characters are given relatively equal focus and attention, though they differ a little in importance to the plot. Beldrian is the standout star among this group. An absolute badass, Beldrian is a legendary hunter of sorcerers who is able to negate many of their abilities. He wields the aforementioned legendary blade, Sovereign, and pretty much has the hopes of his people on his shoulders. There are times when he shows a vulnerable, human side, which is good. But he never loses that cool, badass edge. There's also: Edyndor, a hunter who experiences vivid visions and engages in the metaphysical aspects of the storyline, particularly with Mźhala, a transcendent figure guiding him through spiritual realm. Léyondir, a character torn between rationality and spiritual calling, often confronting his own uncertainties while guided by his grandfather's wisdom. Tanathaí, a character with a complex past, who has struggled with allegiances and wrestles with voices in his mind, symbolic of inner moral and spiritual challenge. Mźhala, a mystical figure embodying light and spiritual guidance, who plays a vital role in the narrative's metaphysical and spiritual dimensions. Genghedi, another character influenced by the dark voices and internal struggles, often representing the intellectual and philosophical aspects within the narrative. Tzaraphiel, anpther enigmatic guide who directs other characters towards enlightenment and understanding of ancient wisdom However, the characters who seem to get a lot of attention are the four traveling musicians: Kavéden, Lerahti, Täfith, and Erädimus. They start the book pretty much like a garage band looking for gigs, which is relatable enough. However, when the powers of harmony and resonance become major plot points, a lot of this book fixates on these four figuring out how to play their instruments and manipulate magical gongs to pull this off. Like we said, there are whole chapters dedicated to them just trying to learn to play music. It's not exactly thrilling or exciting like fighting dragons or orcs. At a certain point, we kinda wished that they'd go the way of Sir Robin's minstrels. It's also kinda hard to figure out what the actual conflict/plot is supposed to be. Yes, there is a conflict and a plot, but it's buried under pages and chapters which describe all the waterfalls, trees, lakes, streams, and music in this book. From what we can gather, the villain of the story is supposed to be Cyrthron, a dark and powerful figure who leads the Celestial Senate. This governing body, originally designed for righteous oversight of creation, has been corrupted and is now under the control of Cyrthron and his demonic Principalities. Cyrthron's goal is to manipulate and control the emerging generation of the Yahtlév’yah for his own gain, using his dark powers to influence kings and minds in the natural realm, keeping humanity from accessing higher truths and potential. His intent is to prevent the rise of the Shining-Ones and to subvert the spiritual awakening, ultimately consolidating power and dark influence across the realms. In other words, Cyrthron is Satan (or Sauron). The overarching conflict is thus a battle between the forces of light, led by the divine and transcendent figures like Iáhdé, and the forces of darkness, embodied by Cyrthron and his demonic senate. The struggle involves both spiritual warfare and a race against time, as the Shining-Ones must overcome their inner turmoil and the external threats posed by Cyrthron’s forces to fulfill their destiny and bring about a new age of truth and understanding. Check it out on Amazon!  Score: 93/100 (9.3 out of 10)
The Adamantine Jewel is a mystical and satirical supernatural-adventure novel by Jeffrey Pears! It's also one of the rare examples of Buddhist-based fiction to come our way, which is surprising considering the influence of Eastern traditions on the world. Through this fantastical work, Jeffrey Pears cleverly satirizes and criticizes many of the suspicious events surrounding the 2020 crisis-year, particularly the COVID-19 pandemic, shutdowns/lockdowns, government and big-tech censorship, suppression of information, the heavy & often-unquestionable/unchallenged influence of Big Pharma, the CDC, and the NIH, and the ostracizing of religious & spiritual people like Christians, Muslims, and Buddhists who were portrayed as “unscientific.” This becomes clear when the “CDC police” outright arrive to confront the main characters or when the “California asset forfeiture law” leads to phones being confiscated to avoid the spread of “misinformation.” Oh, yeah, the Hollywood sign is portrayed as broadcasting corrupting messages, which is also thinly-veiled satire. This book is also highly critical of the American healthcare system (along with Big Pharma) since it portrays the main characters as having to leave the country just to receive life-saving care. This actually isn't as ridiculous as it sounds. In Cancer Culture by Dr. Jacqueline Acho, we learned about how terminal patients like the author actually had to leave the United States to receive alternative treatments and medicine in places like Istanbul, Turkey. It shouldn't be that way. The United States should, theoretically, have the best, most exhaustive medical resources and treatments available to all of its people. That's why Right to Try, will become so important in the coming years. The book also points out the powerful and negative influence of Big Pharma as it is portrayed as doing everything in its power to influence/lobby the government and media to suppress information of cures in order to stuff its pockets. This book is clearly a product of 2020 and the many conspiracy theories surrounding it, many of which are often considered to be right-wing and western in origin. However, it's interesting how this book has a heavy leaning toward eastern cultures and belief systems, particularly Tibetan Buddhism. In fact, many Buddhist concepts are explored in this book including impermanence (anicca), suffering and the nature of dukkha, the path of the Bodhisattva, self-knowledge/self-realization/knowing thyself, interconnectedness (dependent origination or Pratītyasamutpāda), and karma/moral consequence. Even the origin of Swastikas is explained. The Adamantine Jewel follows UCLA archaeology professor and former US Marine, David Thoreau after his daughterm April has been inflicted with a mysterious flesh-eating virus that has started a pandemic across the globe. With only ninety-six hours to find a legendary healing stone, David and his daughter navigate an intense journey fraught with ancient secrets, supernatural forces, and relentless assassins. Their adventure takes them from California to the Himalayan caves, where the mythic Adamantine Jewel—a powerful artifact believed to heal even the gravest afflictions—is said to be hidden. The narrative deftly weaves high-stakes action with philosophical depth, exploring themes of life, death, and the search for meaning. Alongside physical challenges, David and April face emotional trials, dealing with loss, courage, and the complex bonds between loved ones. The book blends elements of action, mysticism, and supernatural suspense, drawing readers into a vividly depicted world where mythical powers and modern science collide. Through David’s internal reflections and intense encounters, the story raises questions about mortality and the human spirit's resilience. It's an adventure with emotional gravity, inviting readers to reflect on what truly matters when everything is at stake. Joining David and April on their quest is Serenity Adler, David's research assistant. Serenity is portrayed as intelligent, driven, and passionate about archaeology, making her an invaluable asset to David both professionally and personally. As they work together, David finds himself increasingly drawn to her, especially as she prepares to leave for a significant archaeological dig in India. His admiration grows, blending his professional respect with a budding personal affection. To be perfectly honest, though Serenity may be a nominee for “Hottest Character,” the actual relationship seems superfluous and unnecessary, serving mostly to bloat the story and give it some romance (including a steamy scene or two). They are also aided by the lamas (Buddhist spiritual leaders), some of whom reveal supernatural/magical powers like the ability to transform into snow leopards! This can ruin the immersion and seem to jump the shark for some people, turning a realistic story into an all-out supernatural one. Then again, David was able to fight off a pack of wolves with his human might (without magic), so there's that. Some of the assassins have arcs for some reason as well. Savage reveals himself to have had a somewhat sympathetic backstory that led to him becoming a murderer and, subsequently, an assassin. Jack Rogue, another assassin, has this really complex and somewhat overdone redemption arc in which he encounters Avalokiteshvara, the Buddhist god of compassion, who basically cuts a deal with him to be a better person. It's kinda cartoonish, to be honest, but it's there nonetheless. Speaking of cartoonish, the villains are as cartoonish as it gets. However, they serve their purpose. There's Genycide (yes, her name is really pronounced “Genocide”) who is a merciless antagonist, likely involved in bio-terrorism or dark scientific pursuits. There's Charles Blackheart (yes, his name is really “Blackheart”), a high-ranking executive at Pharmakost, embodying corporate ruthlessness and moral depravity. Known for his manipulation and willingness to eliminate anyone who opposes him, Blackheart is emblematic of unchecked corporate greed and corruption. He orchestrates many of the novel’s darker plots, driven by a desire for control over the jewel’s powers. Speaking of Pharmakost, this Big Pharma corporation—like Umbrella Inc., perhaps—is involved in some seriously shady stuff. Its goal seems to be to keep the human population sick so that they can continue to make money off of it. They are essentially committing genocide behind the scenes as a means of population control, using arguments like climate change and limited resources to support their blood lust. There's also a guy named Slaughter who seems to control social media and is ordered by the other baddies to shut it down to suppress information about the Adamantine Jewel cure. Yes, these villains and their names sound like they're Cobra High Command from G.I. Joe. There's also an enigmatic evil figure known as the World Magistrate who is essentially the Serpentor of this analogy. This might seem a bit goofy and silly to some, destroying the immersion and realism along with the supernatural lama powers. However, we prefer to view it as satire. Overall, The Adamantine Jewel is a ripping journey of myth, survival, and the unbreakable bond between father and daughter, this story plunges readers into a high-stakes race against time. Check it out on Amazon!  Score: 90/100 (9.0 out of 10)
Brent and Edward Go to Mars is an immensely complex and ambitious science-fiction and space adventure novel by Dr. Richard Jeffery Wagner, a brilliant scientist and engineer in his own right. Wagner brings his deep well of knowledge and intense passion for science, engineering, and space exploration to this book! Dr. Wagner has a BSME from the University of Hawaii at Manoa and a PhD from USC! He actually played a part in the building of spacecraft with the Northrop Grumman Corporation. He also managed the integration and test portion of the winning proposal for the James Webb Space Telescope! This is a truly brilliant person who has walked the talk and knows a lot! If this book has one thing about it that we would like to celebrate, it's that it encourages young people to think outside the box and to dip their feet into scientific exploration, experimentation, and innovation. This book is JAM PACKED with new, developing, emerging, and future technologies! The technologies showcased in this book include: Magnetic Radiation Shielding High-Specific Impulse Fusion Thrusters Zero-Gravity Adaptation and Centrifugal Gravity Simulation Intelligent Jetpacks with Control Moment Gyros Hydrogen-Powered Air Cars Self-Aware and Autonomous Robots Space Hotels with Artificial Gravity and Privacy-Ensuring AI Space Infrastructure and Lunar/Martian Colonies We also learn about the mining of space minerals, terraforming, how a shopping center/mall in a space colony would be like, and what a sport like tennis would be like in space. And that's just the tip of the iceberg. Now, that is all incredible and awesome. Who isn't excited about cool, new technologies that could make our lives easier, more convenient, or exciting? However, it can be a bit much. In fact, if there's one thing about this book that detracts from its enjoyability, readability, and entertainment value, it's that it's overly detailed and overly fixated on these technologies. That's right: the one thing about this book that's the most ambitious & promising may actually be its biggest weakness. It's hard to care about the book's characters and plot when the author seems to only want to talk about all of this great technology. Yes, the technology is cool, interesting, and exciting at first, but then it becomes distracting. It becomes more about all these props than being about any of the characters developing or the plot heading in any particular direction. Yes, the book is building and leading us toward the promised visit to Mars. That's for certain. However, it doesn't seem to be the focus of most of this book. Most of this book seems to be about the technology and the intricacies of the scientific/engineering involved in the visit/mission. That's great and all, but it often dominates every page of this book, calling attention toward the technology and away from where the characters are actually going and what they're actually trying to accomplish. In other words, we felt that the author was a bit too self-indulgent in their own personal interests. It might also be an example of the author being too smart, too brilliant, and knowing too much. They wanted to talk about what they wanted to talk about. That would be great in a work of non-fiction, in which you expect to learn something, but it doesn't work too well in fiction. It severely disrupts the flow and the pacing of the book. Could you imagine, for example, reading Little Red Riding Hood and the narrator stopped in the middle of the book to explain the Big Bad Wolf's entire anatomy and biology every five pages? Could you imagine reading The Great Gatsby and the narrator stopped talking about Gatsby, Tom, and Daisy to teach you about the ecology of the fish, birds, and other animals in New York State? Could you imagine reading The Hunger Games and the narrator started talking for hundreds of pages about the intricacies of Panem economics instead of letting the characters battle it out and develop? Here's a good example: In Doctor Who, there's a lot of technical, scientific, pseudo-scientific talk and jargon thrown around, particularly surrounding the TARDIS (space/time machine) itself. However, it never becomes so excessive that it detracts from the story and the characters. It's usually just played up for laughs and gets relegated as “timey whimey stuff.” We've actually read a book about the “timey whimey stuff” in Doctor Who, and it was great! That's because it was a non-fiction book that was specifically about exploring the science and technology behind Doctor Who. However, this is supposed to be a work of fiction. It's supposed to be entertaining. As a writer, if you get too caught up in the weeds and try to say everything you want to say and cram everything you know into a novel, it's going to impact the reading experience. If you don't reign that in, it can negatively impact the reading experience. We actually encounter and experience this problem quite a bit, especially with epic fantasy novels that are desperately trying to be like Tolkien with the authors describing every leaf, river, snowflake, raindrop, creek, village, bush, and branch. In other words, though we admire world-building as much as the next person, an excessive amount becomes tedious after a while. After a certain point, you start to ask: Can we just get on with it already? Can we progress with the story? Can we get to the plot and the characters?' Can we get off this white orbiting rock and get to Mars? Can we get to this Olympus Mons tour that we've heard so much about? Speaking of the characters, because of how fixated the book is on other stuff (we haven't even touched on the philosophical stuff yet), it seems like most of the characters get a little short-changed. We gathered that there's Edward Collier, a curious, philosophical software engineer with a strong desire for adventure. He is passionate about exploring space. Then there's Brent, his robot valet. Brent is incredibly philosophical, and that—like the science talk—can get a bit overdone and tedious after a while. With that said, in isolation (ignoring the space-faring plot and characters), Brent's philosophizing is actually incredibly interesting. It goes along with the major plot-thread that runs throughout the book in which the characters are constantly debating whether or not robots like Brent have rights and how those rights might differ from human beings. We are provided with examples of slavery throughout history like Spartacus' rebellion in Ancient Rome. There's a tug-o-war in this book between two movements: the Robot Personhood movement and the Humans First movement. Both sides have their own arguments, though this book does tend to side with robots like Brent. In a sense, the author ambitiously tackles what could be the next stage of civil rights. In 50 to 100 years, we could realistically be asking ourselves: Do robots deserve equal rights? In 50 to 100 years, we could realistically be using technologies like the incredible ones described in this book. If Elon Musk and the author have their way, we could be going to Mars! We could be visiting the moons of Mars & Jupiter. We could be reaching new planets and possibly even other stars! If the author does something well, it's making these innovations seems plausible, believable, and—most of all—possible. Check it out on Amazon!  Score: 90/100 (9.0 out of 10)
Untold Prophecies is an alluring urban fantasy & mystery novel by Rhiannon Hailey! The first-half of this novel is spearheaded by its realistic and compelling characters, primarily the grounded Dr. Danielle Baxter, the cozy yet mysterious Gram, and the tough-loving Cypress (better known as “Cy”), Danielle's best-friend. We're later introduced to Dr. Stefhan Storme, the handsome and charming owner of Storme Medical who—like Gram—hides an extraordinary secret. In its controversial second half, this book develops into a werewolf-fantasy story (akin to Twilight) and eventually even ventures into erotica territory with a heavy emphasis on prolonged, overwritten, and repetitive sex scenes that will either appeal to or drive off some readers. Kicking off in Florida, Untold Prophecies follows Danielle Baxter, an intellectually-brilliant, orphaned young doctor who is passionate about advancing her medical career by being accepted into a Neurology Fellowship run by Storme Medical. The Storme Medical Neurology Fellowship threatens to take her away to Oregon—a whole different world compared to Danielle's life in Cedar Keys, where her beloved Gram and best-friend, Cy, live. Danielle apparently lost her parents in a mysterious accident when she was five years old. With no memory of her life before the accident, she was raised by Gram. Gram serves as her protector and guide, harboring secrets about Danielle’s identity and destiny. Among the mysterious strange things involved in the relationship between Danielle and Gram is that Danielle suffers from constant headaches that are only alleviated by Gram making her granddaughter wear a special necklace with a wolf pendant and a drink special tea that suppresses both her headaches and powers. Danielle is petite, with fiery red hair, startling green eyes, and porcelain skin. A crescent moon-shaped birthmark on her neck hints at her supernatural connections. She has a photographic memory and hyperthymesia, allowing her to recall past events with vivid accuracy. This talent makes her highly capable but also isolates her from her peers. Often bullied and ostracized in school, Cy stands up for her and apparently fights off those who mistreat Danielle. Cy becomes a lifelong and fiercely-loyal friend, practically as close as a sister. While Danielle seems to be the brains of the dynamic duo, Cy seems to serve as the muscle. Cy Meadow is a character who really won us over with her loyalty, ferocity, dedication, toughness, and uncanny sense of humor. Cy is incredibly funny! And, by extension, she is incredibly charming and charismatic. She gives us priceless lines like: “Take your hormonal ass to bed.” She also admits to being fired from a 911 call center because she told a crank-calling child that she would "show up at his house and whoop his ass like his parents never did." Who doesn't like a character who speaks their mind and tells it like it is? Cy is inarguably the fan-favorite of this book. However, that makes the second-half of this book even more frustrating and unfortunate as Cy becomes progressively less relevant, getting overshadowed by the more supernatural, fantastical, romantic, and sexual elements in the book. She gets almost completely replaced in the deuteragonist role by Stefhan, who is simply not as likable as a character yet demands 50%+ of the reader's attention in the second-half of the book (with the other 50% or so going to Danielle). Gram also passes away relatively early in the story despite establishing herself as the second most likable character (though the narrative still finds ways to incorporate her). She leaves behind the mystery of Danielle's necklace/wolf pendant as well as of the tea, with Gram never having disclosed its ingredients. Danielle even worries that she may have a cancerous tumor that may threaten her life if she doesn't figure out the concoction in time. The setup for this book is incredible. The first half of this book is solid. We had this incredible cosmological, mythological origin story with a magical goddess, Selene, who—as a beautiful yet hopeless romantic—wanted to ensure that all of her children would have romantic partners. We had great characters like Danielle, Cy, and Gram who seemed grounded, likable, and relatable. It really gripped us. It made us wonder what would happen next. Then, something weird happened... It's like this book completely shifted into something unrecognizable, something we weren't quite as happy about. In fact, it almost seems like the halves of this book were written by the author at two very separate times, perhaps decades apart. It almost seems like the author either changed their mind halfway through or forgot what happened earlier in their writing. Ideas, concepts, and characters are just thrown in here and mixed into a figurative blender, thrown recklessly and relentlessly at the reader in a way that we found disappointing. It was like ordering a pepperoni pizza, then getting a pizza with pineapples and sardines on it. What gives? Well, let us explain... First of all, the moment that Danielle meets Stefhan, this book takes a drastic and dramatic turn. It goes in a totally different direction from where it appeared to be heading. Instead of continuing the sweet, heartwarming tone and feel that pervaded the first half, this book suddenly becomes like 50 Shades of Gray, for better or for worse. It became so much darker and, in our opinion, overly sexual. A few sex scenes is fine. One of two, maybe. But when the two characters are going at it over and over and over and over again, it becomes a bit tiresome. It completely derails the book's momentum and flow. We get it, werewolves in this lore have higher libidos. And, yes, the Selene prophecy prioritized finding a special partner and having a special child. Ok. Fine. But again, those almost seem like convenient and oddly-specific excuses for having non-stop, relentless, machine-gun-style sex scenes. Could you imagine if, in The Bible, we had to read about the graphic, detailed, non-stop sex that Abraham & Sarah were having in order to birth Isaac? Or, if in Star Wars, scene after scene after scene was just Anakin and Padme having sex in order to have Luke & Leia? Like, sex sells. Of course it does. However, there's a reason why most adult films don't win major awards: no one who watches those films really cares about the characters, the story, or the plot, they just want to see the two (or more) people get it on. Furthermore, it's troubling how the writing in this book goes from being delicate and eloquent in the first-half to being coarse, abrasive, and even a bit disgusting in the second-half. We are constantly (and we mean CONSTANTLY) reminded that Stefhan's “cock is rock-hard” (about 40 times) and that Danielle's “pussy is wet” (about 27 times). Don't you think that's a bit excessive in a book that started off like a YA fantasy novel? If it's erotica, call it erotica. Don't lead us on and try to convince us that it's this deep, beautiful, heartwarming tale of friendship and true love if it's just going to devolve into a X-rated fantasy. What's unfortunate about this is that characters like Cy really get lost in the mix due to the overemphasis on Stefhan and sex-with-Stefhan/werewolf-sex. Furthermore, the whole werewolf side of the story just seems overly goofy to us. Yes, it's cool that werewolves have accelerated healing. It's a little interesting that they have impulses like the urge to have constant, non-stop sex and biting fixations that they use to mark their mates (like hickies). However, it's really hard to take them and their conflicts seriously because of how much the suspension of disbelief is destroyed due to their presence and activities in the book. They don't seem REAL in the same way that Danielle, Gram, and Cy seemed real. Stefhan is the leader of a werewolf pack known as the “Crimson Diamond Pack.” The name of this pack didn't evoke thoughts of wolves or cool mystical stuff, it evoked thoughts of a booster club for a college athletics program (like the “Crimson Collective”) or multivitamins intended for middle-aged men and women (which are often referred to as “Diamond” editions). The name of the pack they take over, the “Silver Moon Pack,” is also kinda hilarious because “Silver Pack” evokes thoughts of multivitamins for geriatric people 65 years or older. Furthermore... and this is another huge issue for us... where in the blue heck did Danielle's father and brother come from?! Danielle was clearly established to have been an orphan. Her parents were clearly established to have died in an accident. However, we're suddenly, abruptly, and casually told that Danielle has a phone call with her “father,” over her brother, Carlos, being taken to the hospital. Wait a minute, who the heck is Carlos and where was he during the entire time Gram was taking care of Danielle? Where did this “dad” come from and why does she talk to him like she's talked to him dozens of times before when he was never mentioned beforehand? Also, if Danielle had a surviving parent, why would the courts let Gram adopt her? What, did he commit a violent crime or domestic abuse? We're never told that. So, why would a court not give him custody? Why does he seem to have custody of Carlos? And, again, who is Carlos? Why is he suddenly, magically relevant to the story and why does Danielle suddenly, magically know who he is all of a sudden? You could argue that the absence of the tea and the waning effects of the pendant could be allowing memories to resurface, but it almost seems to us like the author just totally added them in during a later revision for... some reason. They seem tacked on and unnecessary. Anyway, this book did a lot of good and a lot of not so good. You should still check it out on Amazon if you're curious!  Score: 93/100 (9.3 out of 10)
Are you up for a seafaring adventure story full of pirates, romance, and a touch of magic? The Devil's Conquest by K.M. Taylor sweeps you into the treacherous waters of the Caribbean, where a fearless young woman discovers her true destiny amidst ancient powers, ruthless captains, and a secret that could change everything. K.M. Taylor was an Ultimate Champion in our 2024 Summer Contest for her ambitious and thought-provoking novel, Codex Sohrakia. Via Codex Sohrakia, Taylor proved she could create and portray compelling, deep, and interesting characters. She can also weave together complex and dense storylines—perhaps overly complex and dense at times, to the point where it disrupts the pacing and flow a bit. The Devil's Conquest shares a lot of the same pros and cons as Codex Sohrakia. In summary, that amounts to interesting characters and concepts that get somewhat derailed by the author/narrative attempting to do too much at once. We'll get back to that later in the review, but let's ease you in. Let's set the scene. The novel kicks off in Port Royal, Jamaica in the late 1600s. So, this book is actually a bit of a historical fiction novel. On that note, we have to give credit to the author for their research and for attempting to bring this time-period to life, which can't be easy. It almost seems like nothing Taylor does with her writing is easy, she apparently loves to challenge herself. The book follows Elsa Janeway, a young woman who has endured a tumultuous upbringing. Elsa’s traumatic experiences including growing up in a brothel and witnessing her mother’s hardships shape her character. After a devastating earthquake, Elsa inherits a tavern, which she transforms into a thriving brothel named "The Rose Palace." Throughout her journey, Elsa is marked by resilience, learning to manage her business while maintaining her personal integrity despite her past. Beside the curve ball of the earthquake and the passing of her mother, Elsa encounters two more huge curve balls in the form of two competing pirate captains: the handsome, chivalrous, and noble Captain Eduard Thane and the sadistic, lecherous, and bloodthirsty Captain Alexander Morvin. Captain Eduard Thane serves as the main male protagonist, deuteragonist, and love-interest of the novel. Meanwhile, Captain Alexander Morvin serves as the book's main villain. The contrast between these two male characters is stark, practically night and day. One is very clearly good while the other is practically pure evil. On one hand, it's very good to have someone we can clearly root for and someone we can root against. On the other hand, it's pretty cartoonish, a little goofy, and a quite hard to believe. If we were going to compare it to something, it's kinda like Popeye the Sailor Man and Bluto, his mustachioed nemesis who constantly imperils Olive. WARNING: SPOILERS AHEAD Check out the book HERE if you love pirate-themed adventure stories like Pirates of the Carribean! _________________________________________________________________________________ REVIEW CONTINUED... First and foremost, Thane is arguably TOO good. Thane is supposed to be a pirate captain. You know? The guys who are historically known to rob ships while raping, pillaging, and killing their unwilling victims? However, almost everything that has to do with Thane is euphemized, excused, and put in the best light possible. He's a good pirate. So, that makes piracy ok, right? We had a similar issue with Captain Tim from The Pirate's Conquest by Charlene Centracchio, which is actually a very similar book. Tim & Thane are indeed very similar characters. Now, you could argue that Thane shows a slight dark side when he talks about the time a female stowed away on his ship and he had to “share” her with his crew as part of the pirate code of conduct (yes, pirates have a terms of service, apparently; leave it to honorable Thane to bring that up). However, even that is excused by several statements including Thane saying he didn't get directly involved in what is essentially gang banging. It can also be argued rather easily that Thane uses this story to warn and protect Elsa out of a feeling of love and chivalry—in other words, he says these terrible things for a good reason. He doesn't want Elsa to be victimized and targeted because of him and/or caught up in his pirate lifestyle in which these bad things could happen to her. So, like a true politician, he makes himself seem like a white knight, a hero, and a good guy even when he's admitting to his supposed worst deeds. How convenient... Meanwhile, literally everything that Captain Morvin does is horrific, sadistic, and terrible to the most extreme extent. The man lacks one good bone in his body. He has no scruples. No conscience. He is evil incarnate. He is willing to backstab and betray anyone and everyone for his own personal gain. He brutalizes and forces himself upon women including, it turns out, on Elsa's mother. Really quickly, on that note, it is kinda strange how Elsa's scar is explained. Her scar was inflicted through a traumatic yet heroic event involving guess-who, but it's covered by a tattoo that is—in itself—a story. While that's poetic and all, it really seems like one thing tacked onto another thing at the last minute because it seems like it would be cool. Yes, you could argue that it's romantic how Captain Thane is the one dude who recognizes the scar under the tattoo, but it still seems off. If Elsa was going to have this big, traumatic, personal experience that involves Morvin, then why wasn't it brought up or mentioned in the earlier sections when Elsa was 12—you know, before the earthquake? Why not start the book talking about that traumatic event instead of talking about Mama Janeway's other affairs? The fact that it seems omitted from that early section makes it seem like the plot-thread was added at the last minute or in a later revision. Furthermore, if Elsa was going to have this injury on her cheek, then why add this whole other injury with the magic rock being implanted in her back tied to the Legend of Pasan? Oh, and by the way, there seem to be two separate magic stones or possibly two separate origin stories: one that got embedded in Elsa's back when she got washed away during the earthquake and one that Thane found and gifted to her after finding it in a shipwreck or something (as implied in the book description). The stones apparently resonate with each other. However, it really seems like two separate origin stories for the same magical object that the author possibly couldn't decide on, so they left both in. At least it feels that way. It's actually a good analogy for how Elsa herself is written as a character. She sounds like multiple different characters and multiple different stories crammed into one character. She is a character on top of another character living inside the shell of another character, like if you gave legs to Ariel from The Little Mermaid, then squeezed her into a Princess Leia costume, then shoved her into a Mary Magdalene disguise. These are three separate and very different characters who, though they might share similarities, don't necessarily mesh well. It's like putting chocolates, raisins, and sardines on a pizza. Separately, they're fine. But together? Together, they make it seem like a cook went out of their way to make your dining experience confusing and chaotic for no reason. See, Elsa is supposed to be the owner and madame of a major brothel, the aforementioned Rose Palace. Yes, she's a bit on the young side for a business owner—thrust into that position by circumstances including the loss of her mother and financial insecurity—but you'd still expect her to have a good head on her shoulders, to be responsible, strong, firm, tough, and smart. You wouldn't expect the owner of a large brothel to be thrown around and tugged from here to there like a flimsy piece of paper caught in a gale. However, that's how she comes across. It doesn't help that she's thrown and tossed around like she's a hot potato in a game of, well... hot potato. On one page, she's a captive on Morvin's ship, on another page she's a stowaway on Thane's. She gets bullied on both ships, which really doesn't help her character. She's kinda treated like Olive from Popeye the Sailor Man. On that note, there is a really bizarre part of this book in which we're expecting Morvin's betrayal and a huge battle with the Royal Navy, but then the book keeps cutting away to other things. It's hard to describe. The best way we can describe it is it seems... unmoored. And, with that, comes a feeling of disjointedness. Anyway, going back to the previous point, Elsa comes across as someone who can be easily taken advantage of. She has no security. She has no safeguards. She couldn't talk herself out of a wet paper bag. She can't say no to anyone. She runs her brothel like it's a McDonald's or—at best—a Sizzler's. Anyone can come in and out. They can eat everything they want, do anything they want, pay any amount they want, and what's Elsa gonna do? Yell at them? Politely ask them to leave? Heck, she seriously proposes running away from her business and stowing away on Thane's pirate ship. This isn't something a strong, independent, assertive, steadfast character would say, this is something a dependent, needy, weak character would say. Her dialogue normally doesn't come across as strong or assertive. It comes across as soft, apprehensive, tentative, shy, and even submissive. She just comes across as so... weak. She really shouldn't. If there was ONE CHARACTER in this entire contest who should be a lady boss, it's Elsa, a brothel owner. You cannot allow yourself to be pushed around when you're in the position she's in. Imagine if Oren Ishii from Kill Bill just let all the other crime bosses push her around, kidnap her, and tell her what to do. Do you see how weird that would be? And by the way, who is running the Rose Palace while she's kidnapped or away adventuring? Like, the Rose Palace itself seems like its tacked onto Elsa like an accessory that can be taken on and off. Running that place should be a HUGE responsibility, but it's only a huge responsibility when the narrative has time and room for it to be. The Rose Palace and the scar/knife/tattoo subplot only seem relevant when it's convenient, then they get relegated to the background and ignored. It's like they're only in the book because the author had a list of cool things they wanted the character to have because they would be cool. A good argument against that would be that Elsa being a brothel owner—a woman of ill repute--makes her a foil and a contrast to Ivy, Thane's other lover in this love-triangle. Oh, and by the way, there's a love triangle. To be fair, it's actually quite interesting. Ivy can best be described as a pompous, highfalutin rich girl. While she could choose to be kind, generous, and loving like Abigail from Ironborn by Andrew Cavanagh, she chooses not to be. Instead, rather predictably and stereotypically, she comes across as arrogant, selfish, and manipulative. She outright states that Thane is beneath her (as a pirate/former pirate) and that he exists only to serve and please her. His happiness, in her opinion, should be dependent on her happiness. This dynamic, surprisingly, works. She's a great contrast to Elsa, proving that social status doesn't dictate or determine your personal character and moral value. You can be a good person in a bad industry and you can be a bad person who comes from a white collar or aristocratic background. With that said, like with Morvin, Ivy's villainy is a bit caroonish and over-the-top. It almost comes across as a character assassination, making the romantic choices of the characters rather obvious. To put this into perspective, you might as well have had Ivy and Morvin kill kittens and puppies, it really does seem that forced at times. Anyway, one last thing that both interested and bothered us about this book is the whole magical/supernatural aspect of it. You CAN have magic and supernatural elements in a historical fiction book. Absolutely! We see it all the time. But like a lot of the things in this book, it seems tacked on and unnecessary. It really seems shoehorned in—forced in at the last minute in some later revision. Case in point is the convoluted, over-the-top, and needlessly risky/complicated way that Morvin chose to take revenge on Thane by targeting Elsa, because of course... Put yourself in Morvin's shoes. You're an evil A-hole. You are a PIRATE. You want to hurt your rival by using his girl, Elsa, to get to him. Here are some options Morvin has: A. Kill Elsa and send her head to Thane B. Skin Elsa alive, make a book out of the skin with her scar/tattoo as the cover, then send it to Thane (perhaps autographing it for kicks) E. Pry a magic rock from her back, then leave her guarded by only one dude who doesn't know the significance of the person he's guarding so she can easily disguise herself as a dude and escape If you chose E, then you'd be correct! Maybe Morvin isn't so much evil as he is incompetent. Did he go to the school of Bond villainy? What gives? How is a pirate captain—someone who is supposed to be a leader of men with some degree of navigational intelligence—this short-sighted and incompetent? Yes, vengeance and hate blind a person. Ok, that's fair. But we're supposed to believe that he sat back, thought about it, and this was the best payback scheme he had? Set up his rival to get killed or arrested by the Royal Navy, then pry a magic rock from his girlfriend's back? Are we in Narnia now? Is this Looney Tunes? Speaking of the Royal Navy... how incompetent is the British Empire with these pardons for piracy? A big part of this book is this edict by the British Crown to forgive/pardon former pirates to encourage them to return to lawful society, all the while simultaneously persecuting and hanging them. Apparently, this is based on an actual decree by King George I in 1717, which also affected Blackbeard, interestingly enough, who rejected it until he was hunted down. First of all, if you're the government, why the heck would you go out of your way to invite seasoned murderers and thieves into your society? Second of all, if you're a pirate, why the heck would you trust the government to live up to its word rather than using this as an opportunity to nail you with an admission of guilt and an expedited sentence to the gallows? In all fairness, the book does kinda explain this via Ivy and her father, a powerful aristocrat who reluctantly pushed for the the decree to make his daughter happy, allowing her to marry Thane. The dynamics of that whole Ivy/Ivy's father situation is as awkward and weird as it sounds, though admittedly interesting. Anyway, let's get back to how Elsa evolves into a stranger and stranger character. So, let's rehash: she starts off as an orphan who acts as the owner of a large brothel. But wait, there's more! Apparently, the magic Pashan rock unlocks something in her: the ability to find a secret treasure. But wait, there's more! The magic rock also gives her a variety of magical powers including the ability to burn things and generate electricity. So, she kinda becomes a sorceress. But wait, there's more! The magic rock gives her visions and some sort of precognition. So, she starts to fill the archetype of a pirate seeress, guiding the pirates to a treasure. But wait, there's more! Not only is she an orphan, the owner of a large brothel, a sorta-sorceress, and a pirate seeress, she can apparently transform herself into a mermaid. No, we're not pulling your leg. And she does this with so much calm, confidence, and poise that you'd assume she has done this a hundred times before. It's bizarre. We get it, she's undergoing an arc in which she grows from a vulnerable person to a strong person, an apprehensive person to a confident person. However, it doesn't seem earned. Why is that? Well, because a lot of her strength and confidence doesn't come from her, it comes from the magic rock and the powers. It's not something she earned, fought, and struggled for, it's something she happened upon or that was forced on her. It also creates an issue of becoming overly convenient. It gets to the point when Elsa can pull a new magic power out of thin air whenever the plot calls for it. It kinda ruins the tension and sense of danger that pervaded the first half of the book. How are we supposed to worry about Elsa when she becomes so overpowered? And, again, who is Elsa by the end of this book? Her character seems all over the place, like a composite or amalgamation of numerous different character concepts: a seeress, a mermaid, a madame, a sorceress. At the very least, we can say that these are interesting characters. At least the lines between good and evil are clear in this book, albeit a bit over the top. One last thing that's both good, interesting, yet a bit funny is how Thane speaks. He speaks in pirate talk. What's funny is that few of the other character talk like him. He can be talking to Elsa or Ivy, speaking all piraty, then Elsa or Ivy will just talk to him in clean, plain English. It's hilarious. It's like in King of the Hill when all the characters are listening to Boomhauer's Southern mumbling, then respond as if they understood everything he said in plain English. Similar to Codex Sohrakia, this is a very ambitious book that clearly had a lot of thought put into it. There's some interesting romance, adventure, and pirate drama to be found here. Check it out on Amazon!  Score: 91+/100 (9.1+ out of 10)
Imagine hiding away from the Nazi Gestapo in an old movie theater! Could you imagine losing your rights and being faced with constant persecution and the threat of deportation, detainment, and death? What if you couldn't trust your neighbors or friends due to the looming threat of being found, outed, or betrayed? To Bloom Like a Tulip is yet another evocative World War II-era novel by Carolyn Summer Quinn, a previous winner for her captivating novel Until the Stars Align. The two novels actually have a lot in common, both following the struggles of girls and their families during a time of intense antisemitism and persecution by the Nazis and their allies. Both might also be appropriate for YA readers, despite their dark subtext, due to their positive and inspiring portrayal of young women enduring these turbulent situations. While Until the Stars Align focused heavily on the experiences of girls and women in Great Britain and Germany during World War II, To Bloom Like a Tulip focuses on the experiences of those living in the Netherlands (and, to a lesser extent, America) during that same time. It is interesting to note the shared struggles of these characters living in different places yet having a common humanity, linked by things like family, hope, and a desire to survive to see another day. It seems to draw heavy inspiration from other examples of Holocaust literature like The Diary of Anne Frank, The Hiding Place by Corrie ten Boom, and Number the Stars by Lois Lowry, all exploring the plight of Dutch children and the families who risked everything to save and protect them. This book features Rika Spranger, a 13-year-old girl whose mother, Florentine, goes on a trip with two of her younger siblings to New York City in America in order to secure an estate. Rika stays behind with her father, Julius, and two older brothers, Kees and Henk, in Amsterdam. Rika, her father, and brothers plan to keep their family bookstore afloat. They expect to reunite with Florentine and the sisters in just six months time. However, the universe has other plans as a World War erupts. The Netherlands is relentlessly bombed from the air by the German Luftwaffe, prompting Queen Wilhelmina and Princess Juliana to flee. The Netherlands falls and surrenders to Nazi Germany in just five days (between May 10th and May 15, 1940). This leaves Rika's family fractured and separated. Being of Jewish heritage, they facing persecution by the Nazis and their collaborators, including the Nazi Gestapo, “Green Police,” and NSB (Dutch Nazi Party). Furthermore, they constantly face the possibility of being betrayed and turned in by members of their community, collaborators, and agents. The author does a good job at showing the gradual degradation of the rights of Jews living in Nazi-occupied territory. It starts with the father having to register the bookstore as a “Jewish-owned business.” It then escalates into having to wear a yellow Star of David on one's shirt or jacket at all time in order to be identified. Then arrests, deportations, and outright killings begin. The Spranger family is betrayed by a supposed document-forger, resulting in the father, Julius, being arrested and presumably sent to a Nazi concentration or labor camp. Realizing that their freedom and lives are truly on the line, Rika and her brothers are forced to hide and seek whatever shelter they can find. They receive it in the form of a theater owned and operated by a family friend, Bram Van Der Graaf. Rika hides in the storeroom behind the projection area while her brothers hide in an old dressing room backstage. They live in constant fear of being found, leading to much of the tension of the book. It should be noted that there's an interesting little subplot of how the children can hear and sometimes view the films being played, often hearing or viewing them multiple times but usually in fragments, leading them to debate and talk about the different parts they've seen. This is interesting in that it mirrors how the family itself is fragmented and fractured along with their opinions and thoughts about what's going on, who is responsible for the betrayal, and if they'll ever see their loved ones again. There's a real sense of generational, collective, and shared trauma. Something else we admired about this book is how it really evokes a sense of adventure and exploration, sometimes reading like a travel book. Locations like the Rijksmuseum in Amsterdam and Scheveningen, a beautiful Dutch Beach Town, are often mentioned. Now, this book might be an example of something that's better in concept than in execution. There are times when it seems disjointed and overly complex. There are a lot of different characters, and the family dynamic (with the two sides of the family being separated) can be a mouthful and a mindful to describe. We think the reason there are so many different characters in here is to add to the mystery of who betrayed the family and who might be the traitor/double-agent in the community. You've got characters like Lisette Van Beek, Betje, Gustav the projectionist, Corina Temmink, Bram Van Der Graaf himself, and Charlotta Van Der Graaf who draw suspicion. In other words, a lot of these characters serve as red-herrings. They also provide some humanizing conflict like when Rika develops a great amount of distrust and disdain for Lisette. Similarly, you can tell that Bram distrusts and dislikes Corina Temmink, the annoying and flirtatious jewelry shop owner. In all honesty, the whodunnit section in the end seems to drag and seem less consequential when the war in Europe is over. A lot of the tension is already lost at that point. There are also numerous grammatical errors and typos like: “She had to wonder. Would the lost members of of her family ever be found?” (The word “of” is repeated twice) “Rika had never been so happy so see anything in her life” (The word “so” should be “to”) “She adored the three children who were secreted in the theater” should probably be “She adored the three children who were secured in the theater” That's not to say that the writing doesn't shine from time to time. For example, alliteration is used in the phrase “crying mess of misery.” There's a lot to like about this book. Check it out on Amazon!  Score: 90/100 (9.0 out of 10)
The Lost and The Found by Ellen Murphy is the second volume in a series of short stories surrounding the Civil War. Like the previous book, The Snow Goose and Other Tales, it is particularly focused on the lives of civilians in the Confederate South (especially in Virginia) and how these lives were affected, shaken, and upended by the war. This three-story collection concerns themes of family, resilience, human compassion, and people setting aside their differences and coming together during a dark time or disunion. The first story (“My Son is Missing!”) is a tense and emotional story—arguably the most tense and emotional story in the whole three-volume series. The story follows Henry Thomas, a farmer in Virginia during the Civil War. Henry runs a small farm that he struggles to manage alone after his son, Jamie, joins the Confederate army. He learns that Jamie has been killed at the Battle of Gettysburg, but refuses to accept it, as does Jamie's fiancée, Charlotte Johnson. Encouraged by friends and a sense of hope, Henry decides to travel to Gettysburg with Charlotte's father, Timothy Johnson, to search the hospitals and camps for Jamie. Their journey is arduous, filled with treacherous roads and the misery of wounded soldiers. They encounter an overwhelming number of injured soldiers and conditions of hardship in the makeshift hospitals. After a long and exhausting search, they eventually find Jamie alive, though injured. Alongside him is Howard England, another young man from their community. Both Jamie and Howard are brought home, where they begin to recover with the care of family and friends. Jamie's return sparks hope and joy, leading to the promise of a future wedding with Charlotte. The story highlights themes of hope, perseverance, community support, and the lasting impact of the Civil War on the lives of ordinary people. The theme of hope really shines through this particular story as Henry, Charlotte, and Timothy refuse to give up on the hope of confirming their loved one's fate. Speaking of which, this story also shines in that it explores the anxieties and fears of not knowing what has truly become of a loved one who has gone missing. It also shines a light on the dismal yet improving state of healthcare at the time, with American healthcare being forced to advance in response to the mass-casualties during the war. Lastly, one of the great things about this story is that it also highlights how weddings worked at the time, especially the urge to get married and to do so at a younger age. This is accelerated and, in a sense, exacerbated by the chaos and uncertainty caused by the war. The second story (“The Bravery at VMI”) begins by focusing on events at the Virginia Military Institute (VMI) during the Civil War. It follows a group of young cadets who demonstrate courage and loyalty amidst the chaos of the war. The story sheds light on the experiences of these cadets, exploring themes of bravery, sacrifice, and the coming-of-age challenges faced during such a tumultuous period. Keep in mind: a lot of these cadets and soldiers were under the age of 15 (some as young as 13) due to lost or forged documents and an insatiable desire to fight, protect, and make a difference. In chapter 2, this story drastically, dramatically, and somewhat abruptly shifts focus to Mildred Adams, who runs a large estate in Virginia. She is portrayed as a strong, efficient, and compassionate woman, constantly managing the household and caring for others during the tumultuous times of the Civil War. Mildred displays remarkable hospitality when she takes in a foreign soldier who is found injured on the roadside. Despite the chaos of war, she maintains a welcoming environment and ensures the soldier receives proper care. Her responsibilities extend to overseeing the household staff, including her maids and butler, Jimmy (a“Darkie” who stands 6'6 and is treated very well on the estate). She is known in the community for her generosity, providing food, medicine, and even homemade quilts to those in need. With that said, she is also always on guard for those who might take advantage of her and her estate. Not only does she have Jimmy, a very large man who often comes armed with a gun (a rarity among Blacks), but she also has three attack dogs who warn her of danger. The guard dogs kinda reminded us of the guard goose from the previous book. Through the story, Mildred emerges as a figure of resilience and leadership. Her actions underscore themes of compassion, duty, and the quiet strength that helped communities endure the difficulties of the Civil War. While Mildred is compelling as a protagonist, this particular story really highlighted how idealistic and rose-tinted the Confederate South is painted throughout this series, to an unrealistic degree. Pretty much all of the slaves and former slaves, like Big Jim, are shown to be treated well and respectfully, almost like free people. They're always portrayed as being happy and content with their situation. It almost reminded us of the infamous scene from the movie The Patriot in which the good guy's slaves claim to work the fields as “free men” because the filmmakers knew this would make the protagonist (and America) look better. The young Confederate cadets, while incompetent at times, are shown as being loyal, dedicated, and committed to what we are coaxed to believe is a good cause (fighting for the Confederacy). Meanwhile, Mildred is shown as basically being Wonder Woman, Supergirl, or a Mary Sue, saving everyone who is injured or in need regardless of what side of the war they're on. She has some kind of sixth sense that allows her to detect when people are lying to her or possibly dangerous. You can maybe call this an instinct or street smarts. Even other characters throughout the book (in different stories) refer to her either with reverence or a tinge of jealousy because of how great she is. That would be great if literally every other book in the series didn't feature a character like Mildred—a strong woman who runs a house, helps hurt/lost people, and keeps bad people at bay—to the point where it becomes formulaic and cliche. The third story in the book, titled "A Foreigner In Their Midst," follows that formula to an extent, although it branches off to explore themes like alienation. The story follows Gretchen Harper, a German immigrant who finds herself in a Virginia community during the Civil War. As a foreigner, Gretchen faces suspicion and prejudice from the locals, who view her with a mix of curiosity and distrust due to her accent and unfamiliar customs. However, Gretchen’s resilience and determination allow her to navigate these challenges. Gretchen is married to Thomas Kennison Harper, who owns a fleet of ships. The story captures her experiences as she adjusts to life in a new country while working during her husband's frequent absences due to his business interests. If that sounds familiar, that's because it's the setup for seemingly every other story in the series, and it gets a bit tiresome after a while. Gretchen arrives in the community and starts working on the estate, helping with household chores and daily tasks. Despite the initial mistrust, her hard work and kind-hearted nature gradually win over some of the locals. The narrative explores how Gretchen builds relationships with those around her, including the household's staff, such as Jimmy, the butler. Through her interactions, the story delves into themes of cultural differences, acceptance, and the struggles of adapting to a new environment during a time of conflict. As the plot progresses, Gretchen's story serves as a lens to examine the wider impact of the Civil War on individuals and communities. Her presence challenges the existing norms of the society she has joined, revealing the complexities of human relationships in a time marked by division and uncertainty. Ultimately, the story showcases how compassion, empathy, and a willingness to understand others can bridge the gaps between people of different backgrounds. Some of these stories really start to sound eerily similar and blend/blur together. However, they're still worthwhile reads. Check it out on Amazon!  Score: 91/100 (9.1 out of 10)
James & Elle is an interesting example of a pseudo-memoir or autofiction (a blend of autobiographical elements and fiction) by Casey Rae! This story follows two dysfunctional siblings, the titular Elle and James, who—despite having grown up under the same roof—are two entirely different people. Elle is portrayed as a caring but emotionally burdened woman. From childhood, she faces emotional and psychological challenges that stem from her dysfunctional family dynamics, particularly the divorce of her parents and her brother’s troubled behavior. She is independent, often strong-willed, and driven by a desire to create stability in her life. Her defining characteristic seems to be her feeling of obligation and responsibility for others including her brother, who repeatedly makes poor decisions (as we'll get to). Meanwhile, James is depicted as troubled, emotionally vulnerable, and deeply scarred by his past experiences. He deals with trauma from both his childhood and adulthood, particularly from his military deployment. Despite his difficulties, James has a certain charm and vulnerability that endears him to those around him, but his behavior also alienates him from his family, particularly Elle. The defining aspect of James's character is his lifelong struggles and battles with addiction, which he uses as a coping mechanism to overcome his PTSD. In fact, his addiction becomes so severe that he even plans to use his military deployment as an avenue to receive free drugs to fuel that addiction. James repeatedly makes poor decisions. Furthermore, he has a poor attitude that flounders between being nonchalant to outright nihilism. James seems to lack the drive, commitment, and determination that defines Elle, a division which—interestingly—seems to define many pairs of siblings in real life. While this is an interesting dynamic to explore, it also seems a bit cliché to us, having read so many similar books. For example, Leslie's Kain's entire Secrets in the Mirror series is about two siblings who are the complete opposite of one another despite being twins and growing up in the same home—one sibling is hard-working and makes good decisions, the other is addicted, troubled, and makes poor decisions. Sound familiar? Well, it's also basically the plot of A Sister Ago by Caitlin Buhr and There's No Cure For Impossible by Carolyn Summer Quinn. While it's a pretty tiresome trope, it can still work. Thankfully, Casey Rae is a skilled enough writer to make it work. One thing that we will say about this book is that you need to be patient, give it time, and let it breathe. It starts out quite slow and a bit flat, but it becomes increasingly more interesting and tense as it goes along, especially as James's addiction becomes worse and the stakes become higher and higher as Elle grows a family of her own. As we learned in Secrets in the Mirror, it's relatively easy to be your brother's keeper until you start introducing a new life partner, pets, and a kid into the mix. Do you want your new family exposed to someone like that? Do you want them serving as a ball and chain around your ankle? At what point do you need to allow them to make their own choices—whether good or bad—and accept personal responsibility? In that sense, this is a thought-provoking book with a story that many will be able to relate to. Something we wanted to add that's both bizarre yet fascinating is Elle's propensity to choose extremely abusive and even outright dangerous partners like Ethan and Adrian. So, Elle isn't completely innocent of making poor decisions. However, how much of those poor choices could be attributed to Elle living with and having to deal with James--a toxic, parasitic character? It almost makes you think: you are the company you keep. It almost seems like James sets a dangerous precedence for Elle's partner choices, normalizing their behavior. It really makes you think! Check it out on Amazon! |
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