Showing posts with label collection. Show all posts
Showing posts with label collection. Show all posts

Friday, December 06, 2024

{Put This One on Your TBR List} Book Review: Dragon Age: Tevinter Nights Edited by Chris Bain, Patrick Weekes, Matthew Goldman, and Christopher Morgan by Karen S. Wiesner

 

{Put This One on Your TBR List}

Book Review: Dragon Age: Tevinter Nights

Edited by Chris Bain, Patrick Weekes, Matthew Goldman, and Christopher Morgan

by Karen S. Wiesner

  

Warning Spoilers! 

Prior to Dragon Age: The Veilguard's release (which I reviewed last week and you'll probably want to refer back to in reading the reviews of these strongly connected individual tales), a new anthology of short stories was released in March 2020 called Tevinter Nights. As the name implies, all the stories are set in Dragon Age's Thedas, many directly in the Tevinter Imperium, where magic-wielding magisters rule and blood magic isn't forbidden. I bought the book (complete with a gorgeous, foldout, color map) at the time of its publication and read it, but since The Veilguard was still in development at that time (and wasn't even named that until later), I felt like I didn't understand where all the stories were coming from. Following the release of The Veilguard, I got it out again and started rereading it. With a much better understanding of all the things going on around the events of the new game, I enjoyed the stories immensely. In fact, it may be the only anthology collection that I enjoyed every single one of the stories included. The tagline of this collection really says it all: "Ancient horrors. Marauding invaders. Powerful mages. And a world that refuses to stay fixed… Welcome to Thedas." Dragon Age is everything I look for in the fantasy genre and then some. 

In this collection, readers are getting a real treat with stories written by nine BioWare staff writers who really know the world contained in the Dragon Age franchise that includes but isn't limited to videogames, electronic games, books, comics, film and television, tabletop roleplaying games, and music. As I said last week, you might be interested in my previous review of all things Dragon Age, which is here: https://aliendjinnromances.blogspot.com/2022/11/karen-wiesner-fiction-series-so-big.html. 

Below you'll find reviews of every story in the collection. Be aware that a major plot angle in Dragon Age: The Veilguard videogame centers around ancient Tevinter artifacts being stolen or unearthed in order to aid the evil that wants to take over the world. So several of these short tales have that as a major theme. Below, I've listed each story in the order they appear in the original publication.

                                                                   

1.     "Three Trees to Midnight" by Patrick Weekes: At the time The Veilguard is set, there's a qunari invasion going on in Thedas that's changing the world. This first story focuses on their capture of a Dalish elf Veil Jumper named Strife (who's featured in the videogame along with Irelin, a team-mate also in this story) and a mage named Myrion. Qunari deeply distrust and put down mages, so Myrion has to hide his powers once he's captured. He's chained to the elf Strife. Tevinter magisters treat elves as nothing more than slaves. So there was a lot of "Enemy Mine" racial prejudice in this this story as the two are forced to work together in order to escape their relentless captors.

 

2.     "Down Among the Dead Men" by Sylvia Feketekuty: The Mourn Watch are the elite guardians of the Grand Necropolis, reverently caring for the dead. They're also a faction of a larger organization, the Mortalitasi. In Inquisition, I was led to believe the Moralitasi are all evil, but in The Veilguard, I learned that's not always the case. We met one of their order, Emmrich, in Veilguard, along with his beloved skeletal companion Manfred, and I was pleased to see them play a role in this particular story in which a guardsman investigates a death in the Necropolis. Very intriguing setting in both the game and this wonderful story with a twist ending.

 

3.     "The Horror of Hormak" by John Epler: My favorite part of Dragon Age has always been the Grey Wardens, those who give so sacrificially in order to maintain a constant vigilance over the return of darkspawn and potential Blights. This story has two Wardens investigating the disappearance of a scouting party. This story is horror in its purest, most intriguing form, and it was an instant favorite of mine.

 

4.     "Callback" by Lukas Kristjanson: Dragon Age: Inquisition had an unmarked quest about "Sutherland and Company" that was mainly followed through War Table operations. If you didn't screw these up and prematurely end the venture, they culminated in an actual crusade for the Inquisitor to save Sutherland and his band of misfits. In this story, the Inquisition has disbanded but their headquarters Skyhold is still maintained by caretakers that haven't been heard from in a while. Sutherland and Company are sent by the Inquisitor to investigate. I loved revisiting Skyhold and these uber-loyal, unlikely heroes.

 

5.     "Luck in the Gardens" by Sylvia Feketekuty: Another beloved Inquisition character, Dorian, makes an appearance in this fun story in which a member of the Lords of Fortune (from The Veilguard) investigates a series of monster killings in Minrathous.

 

6.     "Hunger" by Brianne Battye: In The Veilguard, we're introduced to two married Grey Wardens, Evka and Antoine. This story takes place while these new recruits are traveling to report for duty at Weisshaupt Fortress. They're sidetracked in a town cursed by mysterious and monstrous deaths. This was a neat background to the roles these two end up playing in the videogame, and a precursor to their romance.

 

7.     "Murder by Death Mages" by Caitlin Sullivan Kelly: Mortalitasi is the umbrella organization of "death mages" in the Grand Necropolis that advise Nevarran nobility. The Pentaghast family (re: Cassandra from Inquisition) were some of the founders. Though the group is well-respected in Nevarra, outside they're feared as a cult. The current ruler of Nevarra is aged and weak, his sanity uncertain, and most believe the Mortalitasi are ruling through him. Cassandra Pentaghast, one of the Inquisition's inner circle, assigns a volunteer in the Inquisition to investigate the death of a death mage. This Inquisition mage volunteer was raised by and eventually abandoned this particular death mage, vowing never to return to Nevarra. A Mortalitasi member is suspected of causing political unrest in order to assassinate Nevarra's ruler. Both Cassandra and this investigator have a lot at stake in seeing this situation resolved. While the point-of-view character wasn't exactly lovable, with baggage that's made her bitter and withdrawn, the story had an intriguing whodunit with a lot of complications to keep it suspenseful.

 

8.     "The Streets of Minrathous" by Brianne Battye: Neve Gallus is one of the main companions in The Veilguard, a member of the Shadow Dragons, and a supernatural detective. In the videogame, her loyalty quests all involve a Venatori agent, Aelia, who's trying to subjugate Minrathous (isn't it ironic how often a tyrant calls it "freeing" a population?). This story is the background to all of that--and it's also here we find out what happened to the Templar Brom, something only referenced in the videogame. I enjoyed this setup to a pivotal character in the game.

 

9.     "The Wigmaker Job" by Courtney Woods: Another inner circle Veilguard member, Lucanis Dellamorte, is an Antivan Crow assassin. We learn much more of his background in this story detailing a heist with his cousin Illario (also featured in the videogame), which doesn't get into how Lucanis came to have a demon inhabiting his body, which is a focus of the game.

 

10.  "Genitivi Dies in the End" by Lukas Kristjanson: The Veilguard Lords of Fortune are included in this crazy, off-beat story that I really don't even know how to describe beyond that a weird group containing a bard, a brother in the Chantry, a qunari mage, and a writer take on qunari Antaam (military) in order to steal some ancient elven artifacts. It seems they did this for the sole purpose of their art--in other words, so they'd have something exciting to write about for their ravenous fans to devour. Writers will appreciate this literary escapade, highlighting the extreme lengths authors will go to get a great story.


11.  "Herold Had the Plan" by Ryan Cormier: Two Lords of Fortune (one who recently lost his adventuring partner Herold of four decades) stealthily steal an ancient Tevinter relic that heals even the deadliest of wounds during a Grand Tourney. Unfathomably, every knight in the arena is instantly on their tails. Before long, they realize that their third partner-in-crime has stolen the tourney's grand prize right off the grandstand--the legendary Celebrant greatsword. This was a fun, thrilling story that had unexpected depth and heart at its core.

 

12.  "An Old Crow's Old Tricks" by Arone Le Bray: Lessef of the Antivan Crows fulfills the contract to exact vengeance on those who murdered the Dalish elf clan Oranava. This was a clever story that took a bit to coalesce and make sense, as it's told mainly from the points-of-view of those about to be assassinated who foolishly think they're invincible.

 

13.  "Eight Little Talons" by Courtney Woods: This was probably my favorite in the collection. Here, the author has done an Agatha Christie, following the style of And Then There Were None. The eight major players that head the Antivan Crows are called "Talons" and the hierarchy is from Talon 8 being the lowest of them, to Talon 1 being the highest ranking. Along with their fellow Talons, #5 Talon Viago and #7 Teia (who are featured in The Veilguard) are called to a summit at the First Talon's island home to discuss the qunari and the security of their nation, Treviso. One by one, the Talons are picked off at this secluded meeting, each death re-enacting infamous Crow assassins of the past. This is an obvious statement that no other Crows are safe. In this location, the killer is either hiding somewhere on the island or it's one of their own. (Intriguing--Crows hunting Crows.) Viago and Teia investigate. I loved both of these well-drawn characters, and their obvious attraction to each other sets the stage for their compelling banter in the videogame.

 

14.  "Half Up Front" by John Epler: Another Tevinter artifact--Dumat's Folly (a puzzle that needed to be solved in the Dragon Age II DLC Legacy)--has been stolen. A thief is hired to find out who stole it from the Chantry and why--and to steal it back. The events in this tale directly play into the videogame, which really adds more dimension to that story, since this artifact is one that's integral to Solas/Fen-Harel's ultimate plan. I will also note that the story reminded me a lot of the events in the manga TV miniseries, Dragon Age: Absolution, which aired on Netflix in December 2022 and takes place around the time of The Veilguard. In Absolution, the Inquisition employs two members of the Absolution team, one of them its agent Fairbanks, who was a freedom fighter that asked the Inquisition to reclaim his home, the Emerald Graves. None of the other characters in the miniseries are recognizable, to me anyway. (The voices are very familiar for those who play videogames though.) While I really can't stand anime and manga and therefore I had a lot of trouble getting through even three of the six episodes available in the first season, there were some fun moments in the early episodes and the overall story had a really good twist I didn't see coming (I read a summary of the final episodes rather than forcing myself to watch them). Fans of the series that enjoy anime or manga would probably get much more out of Absolution than I did. Suffice it to say that the story in Absolution paralleled a lot of what was in "Half Up Front", almost too closely. At first, I even though they were the same characters from one to the other, though they weren't. In the end, I felt like one of these was redundant, as they're so similar as to be the same story. I believe "Half Up Front" is probably the most valuable, as it points directly to events in The Veilguard.

 

15.  "The Dread Wolf Take You" by Patrick Weekes: "May the Dread Wolf take you" is an old Dalish curse that gives this story even more meaning. The main character, Charter, was one of Leliana's top spies from Dragon Age: Inquisition. In this story, she's called together a clandestine meeting of Thedas's top spies in order to share information about Solas and his plans to restore the ancient elven empire by tearing down the Veil. In this secret place are a Carta assassin, a Moralitasi, an "Executor" from across the sea, and an Orlesian bard. Each tells a piece of the tale, and it becomes clear that the target for each of their encounters with Solas was the red lyrium idol that was the cause of destruction in Kirkwall in DA II. Little does Charter realize that the cloak-and-dagger meeting has an unexpected guest! I read this story all but holding my breath. I couldn't identify any of the characters other than Charter, but it was very clear that this was the setup for events (and even some of the pivotal settings) about to unfold in The Veilguard.

For anyone following my reviews of short story collections and my philosophy about how short story collections should be arranged, I think the editors did a fantastic job of exactly placing every story in Tevinter Nights in the order needed for optimal reading. The slightly weaker stories are wonderfully anchored and buoyed by the stronger ones with the strongest ones as the first, last, and middle. 

In one sense, Tevinter Nights may not be a good introduction into the world explored in the Dragon Age series, since a lot of the material requires a bit of understanding in how the world of Thedas is run, the crucial events, etc. But, in another, these are just well-written, slice of life stories, a lot of which include magic, mages, mysteries, monsters, and intricate political machinations. Even if you're not familiar with DA lore, there's still lot to love here and, if you're ultimately lured in by these compelling tales, there's so much more to explore in this expansive realm. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog 

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor 

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, November 29, 2024

{Put This One on Your TBR List} Videogame Review: Dragon Age: The Veilguard by Karen S. Wiesner

 

{Put This One on Your TBR List}

Videogame Review: Dragon Age: The Veilguard

by Karen S. Wiesner

 

Warning Spoilers! 

Dragon Age: The Veilguard videogame was released at long last on October 31, 2024 and is the fourth major game in the franchise, a direct sequel to 2014's Inquisition, set ten years after those events. All new locations in the fictional world of Thedas are revealed, including Tevinter Imperium, which fans like me have been champing at the bit to explore since it was first mentioned in the previous games and books. You can find my review of the wide world of Dragon Age here: https://aliendjinnromances.blogspot.com/2022/11/karen-wiesner-fiction-series-so-big.html. 

At the end of Inquisition, Thedas was saved yet again, but Solas, the elven mage on the Inquisitor's main team, inexplicably went missing following the final battle. Readers then watched a very strange, final scene in which Solas secretly meets with Mythal--the elven protector, all-mother, and goddess of love that we've known throughout the series as Flemeth, Witch of the Wilds, and who's come in many forms, including as a High Dragon in DA II and Inquisition. The consequences of that meeting between Solas and Mythal proved shocking to the extreme! 

The very last chapter of Inquisition you could play was the DLC Trespasser, set two years after the Inquisitor's victory against the villain Corypheous. The Inquisition goes to the Winter Palace in Halamshiral for diplomatic talks concerning the future of their organization. A secret qunari invasion is uncovered as the Inquisitor's inner circle utilizes the Eluvian network, which is a series of elven-made, enchanted mirrors that connect and allow for fast transportation and communication. All of this is interwoven with their pursuit of former comrade Solas and finding out what he's up to. At the end of Trespasser (if all the clues were found during the game), Solas reveals that he's in fact Fen-Harel, an elven god of old that many called the Dread Wolf. He created the Veil--the metaphysical boundary between the physical world and the Fade (a dimension of dreams and magic where a lot of demons and trapped spirits hang out). He did it to imprison two other ancient, evil elven gods. Solas's intention is to collapse the Veil and restore the world of the ancient elves, something that will almost certainly destroy the rest of the world. 

The Veilguard's protagonist "Rook" (the player gets to choose a first name) is recruited by Varric Tethras, who's been in the series from the beginning. Varric is intent on finding Solas to stop him from destroying the Veil. When Rook disrupts Solas's ritual, two ancient evil gods are released while Solas becomes imprisoned in the Fade and bound to Rook through blood. Gods' of old siblings Elgar'nan and Ghilan'nain plan to harness the blight--darkspawn corruption--in order to rule the world. 

Because of their connection, Rook ends up at the Lighthouse, Solas's "home" in the Fade. This becomes the main hub and base of operations for Rook and companions between quests. Rook recruits a team that needs to be strengthened through faction cooperation and personal loyalty in order to defeat the villains. The following are recruited early in the game:

·       Harding of the Inquisition, who was the lead scout for all locations in the previous game, though not a member of that inner circle, as she is here. (The Inquisitor does actually play a role in Veilguard.)

·       Neve, representing the Shadow Dragons, a Tevinter resistance group that opposes corruption and slavery--and Venatori, a supremist cult of mainly mages who worship the ancient elven pantheon of gods, the Evanuris. First, the Venatori supported Corypheus in Inquisition and in Veilguard they're now backing Elgar'nan and Ghilan'nain. (Note that Dorian from Inquisition is associated with the Shadow Dragons.)

·       Lucanis, an Antivan Crow, an organization of elite thieves, spies, and assassins that have been part of the world since the beginning.

·       Bellara, a Veil Jumper, the group uncovering the secrets of Arlathan forest's ancient elven empire, once their capital. (Note that Morrigan, who's been a feature in DA since Origins, makes a comeback in this game, first appearing alongside the Veil Jumpers.)

·       Davrin, a Grey Warden, an age-old order committed to fighting darkspawn and the Blight, along with Assan, an adorable griffon. Up until this point in the series, it's been believed griffons were extinct. What a thrill to have my longing for them to be brought back fulfilled!

·       Emmrich of the Mourn Watch, guardians of Nevarra's Grand Necropolis.

·       Taash of the Lords of Fortune, a guild of Rivaini treasure hunters. (Isabela, the pirate, from DA Origins and II is associated with this faction and plays a role in this game.)

Even if the Veilguard--with the backing of hopefully all the factions--manages to stop Elgar-nan and Ghilan'nain, they still have to convince Solas not to collapse the Veil and destroy the world as they know it. 

I preordered the deluxe edition for both PS5 and Xbox 10 and uploaded it just as soon as I could get the wrapping off the games. I began playing and invested 125 hours in it over the next little-more-than-a-week, achieving 100% of the accomplishments. Stylistically gorgeous and immersive, I was drawn in immediately. I absolutely loved the character creation. As usual, you can "design" your Rook from top to bottom, choosing to be male, female, or even non-binary. You can be a human, a dwarf, an elf, or a qunari. You decide whether to play as a rogue, a mage, or a warrior and choose a specialization in each class. Additionally, you have to select a faction to be affiliated with (Shadow Dragon, Antivan Crow, Veil Jumper, Grey Warden, Mourn Watch, or Lords of Fortune). You even get to design the previous Inquisitor from Inquisition, as that character gets an important role in Veilguard as well, considering their background with Solas. Because there are so many choices to make, you could replay this game dozens of times and never have the same experience. 

Two new things you can choose from in the settings are: 1) whether to have your Rook full-on naked or wearing "smallclothes" when undressed, and 2) whether Rook can die in the many, many battles. I found both to be major improvements. However, I didn't care for the sparse-enough-to-be-useless, in-game maps. There were beacons in each of the locations that provided location markers and fast travel options. However, none were named so I could never remember which ones were near merchant locations or other important areas, etc. Some of the treasure was marked on the maps, but not all of it, and not all locations were open through various points in the game, so I always had to go back later and find more since I wanted the 100% achievement. There was also only one option for setting markers on the map to follow--via the visible treasure chests. Since each location had multiple floors, it quickly became a nightmare. Puzzles were a huge part of this game, which I mainly loved, though some were hard enough to make me want to cry. I wasted countless hours being lost and frustrated by finding and completing these--the things I spent the majority of my time on in this game were locating everything and solving all the puzzles in every location. At least those were mainly enjoyable. 

The first several "chapters" of the game were more like a movie the developers wanted players to watch rather than actively participate in. All the dialogue, combat, and treasure-finding struck me as distractions while the theme was being established. Then Rook made it to the Lighthouse, and suddenly the entire world opened up. I knew that this game was going to be much more linear than previous ones, which are open-world and can be explored without any need to hurry or follow a set list of quests. I'm not a huge fan of linear games, preferring to set my own pace and decide what to do in the order I choose. That said, I found I didn't mind the linear construction as much as I initially feared I would because there was a lot of freedom despite it. 

This is one of the few games I've played where everything felt so real, I could have actually been there alongside the characters, living every moment of it. Even when I left to, you know, actually live my own life, I felt that a huge part of me was still there. All the mystery, suspense, thrills, horror, sadness, devastation, laughter and relief--it's built in and abundant in The Veilguard. The character relationships were incredible. Few games are so attentive to constant interactions between all the characters. If I left the Lighthouse for a mere two seconds, there was always new dialogue with all the team members when I returned. Also, in previous games, team members engaged in dialogue that was lost whenever a situation started or we left an area. Here, the characters kept returning to that same dialogue until it was completed, so I didn't miss anything. 

Additionally, romance options were made "pansexual" with all the companions as options. I admit that in my first playthrough, I wasn't absolutely thrilled with the romance my Grey Warden human rogue Rook had with Davrin because it was so slow-moving as to be virtually nonexistent. There was a single quest near the end of his companion missions that solidified the romance, and there was some mild kissing in that. Even there, dialogue wasn't sexy or particularly romantic, nor did it continue when they returned to the Lighthouse. Then, when all hell broke loose and the world was shattering beyond recognition, there was a very weird scene in which Davrin says he'll meet Rook in her room at the Lighthouse. What took place there was so painfully inappropriate, I could barely stand it--mainly because of the timing. The very last thing I would have felt like doing at that juncture was getting it on with someone I'd exchanged only mostly friendship banter with up to that point. The relationship should have had many more romantic interactions and then taken that intimate turn much sooner, so it would have felt more natural and not so "What the heck? It's the end of the world and you wanna do what?" It was excruciating. I was glad it wasn't graphic and that the consummation was over quickly. Hopefully romances with other characters in subsequent playthroughs will be more realistic, better developed, and fit the events around them in a much more organic way. 

The locations were diverse and some of the best I've ever encountered in a game. I enjoyed getting to know each of them and learning so much more about the world and lore of Dragon Age. 

The end-of-game sequence was epic, so life-like, I alternated between tears, terror, and complete exhaustion. Inquisition was a bust when it came to the final battle. It wasn't difficult, and, after 130 hours of game play, felt like it was over in the blink of an eye. Not so in The Veilguard! My team was in jeopardy often--in part because of the (fortunately, good and wise) choices I made throughout the game--during escalating tiers of events all leading toward the final showdown. In this game, there's an ideal ending, a good ending, and a bad ending. I got the ideal my first time through, mainly because my priority never wavered from building my team's loyalty and the helping the factions in whatever way I could. 

I worried because I bought and started playing the game immediately after it came out (not something I ever do) that it'd have a lot of glitches and I'd miss something through the first playthrough that would adversely affect me until I could rectify the situation with a second playing. When a game is first released, gamers can no longer buy the huge, deluxe printed walkthrough books that Prima used to offer in advance, for those who like to know what they're going into prior to playing the game. Now we rely on other online gamers if we get to the point where we're stuck while playing for the first time. There's not a lot of material available when a game is initially released, so I spent an inordinate amount of time figuring things out on my own without help. When I'm playing a game, I want the experience of the story, not necessarily any of the frustration. So my endeavor wasn't as rewarding as you might assume. 

In the end, I did get everything that mattered. Incidentally, one of the achievements--the 52nd out of a total of 53--was basically something like "falling at the Lighthouse". I couldn't figure out what that meant and tried different things in the course of gameplay without success, so Achievement 52 and the one for getting all other achievements went unfinished when I completed the game. At that time, I decided to go back in and try something else. I had a save I'd called "PointofNoReturn" and retained which allowed me to attempt one last thing to get those final two achievements. This time what I did worked, and I got a hundred percent of the achievements. Lucky I had that save! While I'm not sure which Dragon Age game installment is my favorite (2 and 3 are definitely contenders), The Veilguard is now firmly near the top as well. 

For those interested, I've uploaded a comprehensive quest list (that includes major spoilers) for The Veilguard on my website. You can find it here: https://karenwiesner.weebly.com/uploads/2/3/5/5/23554234/dragonagetheveilguardchecklist.pdf. 

Next week, I'll review the corresponding collection of short stories, Tevinter Nights, that came out in advance of DA: The Veilguard. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor 

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, June 28, 2024

Of Proper Short Story Collection Assemblage or {Put This One on Your TBR List} Book Review: Rogues Anthology Edited by George R. R. Martin and Gardner Dozois by Karen S. Wiesner

 

Of Proper Short Story Collection Assemblage

or {Put This One on Your TBR List}

Book Review: Rogues Anthology

Edited by George R. R. Martin and Gardner Dozois

by Karen S. Wiesner

 

 

Rogues, published in 2014, is far from the first anthology George R. R. Martin and Gardner Dozois have edited and assembled together. It's just one in a veritable showcase that doesn't skimp on a significant volume of diverse stories, as you can see from this listing: 

Ø    Songs of the Dying Earth: Stories in Honor of Jack Vance (sci-fi and fantasy stories in tribute to this author's Dying Earth Series, published in 2009)

Ø    Warriors (cross-genre stories on the subjects of war and warriors, published in 2010)

Ø    Songs of Love and Death: All-Original Tales of Star-Crossed Love (cross-genre stories of romance in science fiction/fantasy settings published in 2010)

Ø    Down These Strange Streets (urban fantasy stories published in 2011)

Ø    Old Mars ("retro Mars science fiction"-themed stories published in 2013)

Ø    Dangerous Women (cross-genre stories published in 2013 "showcasing the supposedly weaker sex" "...if you want to tie these women to the railroad tracks, you'll find you have a real fight on your hands")

Ø    Old Venus ("retro Venus science fiction"-themed stories published in 2015)

With confidence, I'd have to say Martin is pretty much a household word at this point with his A Song of Ice and Fire series (HBO's Game of Thrones). I hadn't heard of Dozois, per se, before the Rogues anthology. He was a science fiction author and editor before he passed in 2018, the founding editor of The Year's Best Science Fiction anthologies (from 1984 through 2018) and editor of Asimov's Science Fiction magazine (1986–2004). He won many awards for both his writing and his editing. Not surprisingly given his contributions to literature, in 2011 he was inducted into the Science Fiction Hall of Fame. 

Upfront I'll confess that I'm not fond of short story collections for the chief reason that so few short stories are or can be well written. The forced brevity inherent in a short story is the very reason they don't usually succeed in engaging my interest, let alone my favor. To be a great story, all the elements have to be there--in-depth, three-dimensional characterization, conflict development, and world building. The shorter a story is, the worse this gets because there isn't time or space to capture everything required to draw readers into a story and commit themselves to following it through to the end. Literally (pun intended), a single (well- or poorly-chosen) word might spell the difference between a story making or breaking it for the reader. In essence, a short story has to have all the hallmarks of a fully-fleshed out story that equals the impact a novel counterpart has more hope of providing for its readers. This is a hard, some might even say close to impossible, achievement. 

Full disclosure, although I'm determined to try short story collections if their subject matter appeals to me, I've found that, in general, I'm lucky if I actually like a single story in an anthology. This is the largest reason for why I review so few short story collections. It almost seems unfair to spotlight a single story, holding it up as worthy, while basically spitting out "Eeh" or "Yuck" concerning all the other tales in that anthology that just didn't do anything for me, or (again, very commonly) I outright disliked. Short stories seem to have two extremes--either good or bad, no in-between. Word constraints see to that inevitability. Add to this another detriment: Most collections of stories tend to be at least 80-100,000 words in length, so they're huge. In print format, the price is usually exorbitant. Even in ebook format, they tend to be too expensive, especially considering how few stories I know I'm probably going to end up liking. Bottom line, to find one story I like in the same collection is rare enough to be something of a miracle. That's why Rogues is one of the few anthologies I've ever taken the time to review. That I liked multiple stories in Rogues is almost unprecedented, so it warrants the distinction of being formally reviewed by someone who isn't completely sold on story collections. 

I'm no stranger to anthologies myself--filling roles as a contributing author along with commissioning, assembling, designing, formatting, and editing them. The very first collection I'd ever commissioned and assembled, Mistletoe Marriages, was a Frankfort Award nominee. I contributed a novella to that anthology as well as sharing the credit for editing the four stories included with the other three contributing authors before it was  published in 1999 (currently out of print). However, my main editing experience was within the promotional group of award-winning authors I created--Jewels of the Quill--in 2004. The group was spotlighted in the September 2003 issue of RT Book Reviews and eventually disbanded in 2014. From 2005 through 2011, we produced two group anthologies every year. I commissioned each of these, working directly with the contributing authors, the publisher, and their copyeditor. Additionally, I assembled each one and handled all the formatting and cover designs (one of which was nominated for a prestigious award). I also contributed my own story to all fourteen of these story collections. (While all the group anthologies are now OOP, my offerings have all been republished in my own series or story collections.) Additionally, I was the lead editor on them. All the group anthologies received countless rave reviews as well as award nominations and wins. So I'm very familiar with each of these processes, and I learned a lot about their construction while I was handling them. 

I'd like to go over the importance of each stage in putting together a short story collection before I review at least some of the 21 stories included in Rogues. A facet of multi-story collections that few editors truly understand is the arrangement of the included stories. An editor has to look past an author's name and credentials and judge a story solely on its worth, which isn't easy to do. Even editors get too caught up in the popularity contest. However, for the sake of discussion, let's talk about a short story collection scenario where all that matters is quality. 

Depending on how many stories are included in any given collection, it's imperative that the first and last stories included be the strongest of the entire showcase. The first has to capture readers' interest so completely, they'll want to continue. Once that's achieved, their enthusiasm must be kept high. For that reason, it's a good idea to ensure the second and maybe even the third story is nearly as good (or as good) as the first. The final story, of course, is the one that will leave a lasting impression on readers, and must have been worth the wait for it at the end, slogging through the middle stories that are generally not as good as the others. 

I hate to say that, but it's been my experience that middle stories tend to be simply filler, sometimes readable but nowhere as good as the first and last should be. Like it or not, when an editor has commissioned other authors to participate in an anthology, some of the stories he or she receives sometimes fall short of the mark but they're still decent enough to be included. Editors worth their salt will cull bad stories, even if they're from otherwise usually solid authors--something I've had to do and, believe me, it's never fun. One terrible story can bring down the whole collection, though, so it simply can't be tolerated. When I was editing Jewels of the Quill anthologies, I retained the right to reject a story if it didn't come up to standard. The authors were aware of this from the start, so having it be common knowledge from the get-go made it easier to handle. As much as possible, I tried to work with the author to bring a weak story up to spec, but that wasn't always possible and I did have to make some hard decisions. 

How the middle stories are arranged is absolutely crucial to the overall effectiveness of an anthology. Rogues, for instance, has 21 stories included. That's actually quite a lot and some of the stories are pretty long. Many collections have a tremendous amount of stories but none of them are more than a few pages long (with little space for fleshing out, so many very short or "flash fiction" stories are subpar). The Rogues stories were longer than most usually are in collections, so there was a bit more time to develop the core elements in them. In any case, the more stories, the riskier it is for the editor(s). Yes, there are more chances to engage with the readers, but there's equally a higher likelihood of disappointing them. It's a very fine balance. 

So let's go over an effective strategy of arranging the stories in a collection with 21 stories. As I said, first and last stories have to be the best of the entire group. First one engages readers; the second (and third, if possible) stories should have them fully committed. At that point, the editor can start introducing some of the weaker stories, interspersing them with stronger ones. So story numbers 4 through 10 should be alternated between average and strong stories. #11 should be an extremely strong story. With potentially five stories forming a weaker chain than the rest, readers might find themselves unsure whether they want to continue with the rest of the stories, so the dead-center middle story should be another killer one that recaptures any flagging interest. From #12-18, the editor should again alternate between average and strong stories. Like for the beginning stories in an anthology, the bracketing end ones all need to be strong (so #19, 20 and 21) in order to provide a good finish that will have lasting impact and repeat read value for the collection. 

How did Rogues stack up to this challenge? As I said, I found 10 of the 21 stories worthy of being reviewed. The best stories in the collection were numbers 1, 2, 3, 11, 16, 17, 18, 19, 20, 21. Unfortunately, there was too much of a gap between #3 and #11.

Here's another way to look at it: Ideally, there will be at least 13 really strong stories in any collection with 21 stories included. This would allow the best stories to make appearances in this order (interspersed with weaker stories which I haven't included in the following sequence): 

#1 #2 #3 #6 #9 #11 #12 #16 #17 #18 #19 #20 #21 

Ideally, the 10 strongest stories in Rogues should have been arranged in this order: 

#1 #2 #5 #7 #9 #11 #15 #17 #19 #21 

All in all, Martin and Dozois didn't do a bad job arranging the stories at all, but I admit there were places my interest waned a bit too much because of back-to-back stories I just didn't find compelling enough in a prolonged gap.

Now, let's get to the reviewing. I won't be reviewing any of the stories I had bland or unfavorable reactions to after reading, only the ones I actually enjoyed. While it's true that opinions are subjective, most of the reviews I read for the Rogues collection agreed with my selections. Even in fiction, the cream rises to the top while rocks sink to the bottom. 

I will note quickly before I start the reviews that each story in this collection is prefaced by a fairly in-depth biography for the author. The last paragraph of that included a short introductory blurb for the story. I highly applaud the editors for setting it up this way. I do like to know upfront more about any author I'm reading. More than that, I simply don't like reading any story without having first read something of a summary of what I can expect from the story I'm about to read. So few short story collections include either of these, especially presented in this very appealing manner.                                                                   

1)              Tough Times All Over by Joe Abercrombie (this was actually the very first story featured in the collection): In a city infested with rogues, thieves try to out-thieve each other to gain possessive of a certain, unnamed something. Point of view switches between each of these rogues in turn. This was just good, circular fun all the way around. This story was a nice opener for this collection--however, I'm not sure I would have put it first (or technically even second--I would have placed this one between #6 and #9 or #16-28.

 

2)              What Do You Do? by Gillian Flynn (technically was the very second story in the anthology): This story didn't know what it wanted to be in terms of genre. It was a mystery thriller, as many of Flynn's novels are, but included a paranormal twist. I can't begin to describe this escalating tale that I read with a dropped jaw pretty much from start to finish. By all rights, I should have been repelled by it. It starts (as the author usually does her stories) by setting up a thoroughly despicable character she can't possible expect most readers to root for. For the most part, I tend to full-on hate her characters and want to see the worst possible outcome possible for them--I actually feel dirty reading about such creeps, which tend to be the lead characters. Yet I was sucked into this story despite all this. Everything felt like it was coming out of left field, and it knocked me on my butt from the first sentence to the last. I was led on a merry chase through "corridors" intended to deceive and stun the senses. All my preconceptions and assumptions were like mocking funhouse mirrors, showing me time and time again where I'd gone wrong. No matter how many times I guessed right about where the author was going, she pulled the football out just as I was about to declare a goal (or whatever these sports ball outcomes are). She also twisted on the twist at the end and left me winded and disoriented. Bravo!

 

3)              The Inn of the Seven Blessings by Matthew Hughes (this was the third story included in the collection): A "small god" of luck falls into the hands of a thief when the devotee who was supposed to free the small god and return it to its full power is kidnapped by a band of cannibals. Clearly, this isn't a meal anyone who abstains from eating human flesh would want to attend…unless it means bargaining with the small god for a lifetime of good luck in exchange for the rescue of its only hope for escaping the cauldron. But once the thief has done what he and the small god have bargained for, the devotee (a hedge sorcerer that serves a powerful spell slinger) double crosses the thief and the small god. Now there's hell to pay. And, yes, this story was just as much fun as it sounds.

 

4)              The Meaning of Love by Daniel Abraham (technically this was the 11th story featured in the collection): This story was one I was looking forward to, as I'm a huge fan of The Expanse Series by James S. A. Corey (the joint pen name of Daniel Abraham and Ty Franck). In a world where life is cheap and everyone is out for #1, love and friendship are rare and almost undefinable things. This story took most of its pages to develop, but the last of it went in a direction I didn't anticipate at all, making it seem a lot like two separate stories that were merged together, and I'm not entirely sure it was successful. I'm also not certain I understood what the point of it was. Disparate as it was, it was well-written and absolutely never boring or predictable.

 

5)              The Caravan to Nowhere by Phyllis Eisenstein (technically, this was the 12th story in the collection): A minstrel is convinced to join a traveling merchant caravan through a desert with evil spirits, mirages, and dangers he's never conceived of in his wildest imaginings. By all rights, I couldn't help thinking as I read this story that it shouldn't have been as compelling as it actually was. I think what really fascinated me was that this story was very similar to Michael Crichton's Eaters of the Dead (which I'll be reviewing later this year), but not quite the horror that tale is. True, the bard angle interested me just 'cause I've always found Old World bards intriguing. This particular minstrel has the unusual ability of being able to "fast travel" from one place to the other. Instead of doing that, he chooses to ride one of the caravan's camels. His motivation starts out being the means of crafting new song material but ultimately he finds himself immersed in the lives of his fellow travelers. Because he's come to care for them, he's no longer content with just completing the journey with a new song. He wishes for a happy ending, which may be impossible.

 

6)              The Curious Affair of the Dead Wives by Lisa Tuttle (actually the 17th story in the collection): Complete with a Sherlock Holmesian title, this 19th century detective story tells the very strange mystery of a woman both missing and dead--and neither! What a clever whodunit with all the wonderful twists and turns a reader could want, told from the point of view of a young, female Watson sidekick to a brilliant detective (with a few intriguing flaws). Together, they undertake a case that provides no monetary compensation, only the satisfaction of a good--if rather odd--deed done.

 

7)              How the Marquis Got His Coat Back by Neil Gaiman (the 18th story featured in the anthology): In this adventure set in London Below (first featured in Gaiman's Neverwhere novel) he who is one with the shadows has lost his one-of-a-kind coat with 30 pockets "11 of which were obvious, 19 of which were hidden, and four of which were more or less impossible to find…" Similar to Puss in his wondrous boots, "Marquis de Carabas" loves his coat and refuses to let it go at any cost. While I confess that I've tried to read many of Gaiman's works before, including Neverwhere, Coraline, and The Graveyard Book, I've never been able to get into them, though everything about them seems right up my alley and he's undeniably a talented author. This story is the one that captured my interest from the first, irresistible sentence. I read it straight through to the end. I'm sure Gaiman didn't intend it, but I couldn't help picturing the intrepid rogue as Disney's sweet, swashbuckling Zorro, Puss in Boots, casting about with his adorable, gigantic eyes. That visual just added more pizazz to an already great story. If anyone's wondering, I think this story is considered Book 1.5 that fits in the London Below series following the first installment, and coming before Book 2, The Seven Sisters. But you don't have to read anything but this story to know what's going on.

 

8)              Now Showing by Connie Willis (technically the 19th story in the collection): A night out at the movies for a college student nursing a broken heart over the scoundrel she still loves turns out to be infinitely more complicated than simply buying a ticket to the show. Set in a future time (based on references to movies with currently unmade--and very highly anticipated at least to me!--sequels, like Back to Back to the Future, The Return of Frodo, and Oceans 17), and punctuated throughout by rave movie reviews, this little romantic "ditty about Jack and" Lindsay is anything but predictable.

 

9)              The Lightning Tree by Patrick Rothfuss (the 20th offering in the anthology): This story apparently features a character from one of the author's Kingkiller Chronicles series. Bast is a mysterious "errand boy" who teaches his lessons and learns one or two of his own in the course of one very busy day. This tale blew me away. I'm not even sure why, considering how lazily it unfurled, almost as if absolutely nothing was actually happening to warrant a story being told. That said, the boy was (superficially) like a simple and clever Tom Sawyer yet he was a changeling--someone and something different--to everyone he encounters. I found him irresistible. Bast is a being that knows how to make the most of every single moment in his day--for work, play, and everything in-between. As soon as I finished the story, I started looking for other stories about Bast and found the author has written a series where this character is featured. In each of the novels of the trilogy, a single day is covered. (Note that there are also prequel, in-between, and companion stories, so there are technically more than three books in this series.) In any case, the series flows into each other day by day, so three books means three consecutive days in the chronicling. That means they probably shouldn't be read out of order. However, the author intended The Lightning Tree to be a story within that series, like an off-shoot, so reading this one before the others is a good way to get a taste of what's in store for the main series. Unfortunately, there's a bit of a A Song of Ice and Fire thing going on with this series. The author has been promising the final book that would "conclude Kvothe's story" and complete the current arc for years but the release has been delayed by decades (for many reasons). Because of that, I'm very wary about jumping into another series where I may never get the full story. When I start a series, I like to binge-read it all the way through. That's simply not possible here. Sigh! More writers should be adamant about writing the whole series from start to finish before the publication starts. It helps to prevent the author from becoming "paralyzed" in writing (fame, success, and expectation often clash head-on, causing burnout and/or writer's block) in mid-series. But enough of that. This leads us very appropriately, into the final story in this collection, the very one I bought the anthology for.

 

10)          The Rogue Prince, or, A King's Brother by George R. R. Martin (technically the 21st story in the collection): This is a prequel to A Song of Ice and Fire, the basis of House of the Dragon television series (Season 1 focused on this and other characters of his time period; we'll see what Season 2 holds). If we're going to get very specific, this story is just a very long excerpt from Martin's Fire & Blood, which is anything but a dry historical accounting of the Targaryen family (which I've read from cover to cover twice now). Daemon Targaryen is the king's brother, never destined to become king himself, though he'll be damned if he doesn't try. This means plunging the entire world into a war fueled by his obsessive desire. I'm actually amazed how Martin wrote such a compelling history that isn't presented as fiction at all. It's just deeply engrossing. I read his 700-page+ historical account cover to cover almost in one sitting both times I read it. This particular bit of that history is set 172 years before the events of A Song of Fire and Ice, during a period of time known as the "Dance of the Dragons". The devastating war of succession as House Targaryen declines is told. If you like this story, you'll love the TV series as much as I do.

This collection of stories far exceeded my expectations. I'm anticipating picking up more of these Martin/Dozois anthologies in the future. If others are worthy, I may also increase my reviews of story collections here on the Alien Romances Blog.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

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