First, lemme say that I watched the namesake movie some 15 years ago or so, and I liked it a lot. It would seem the moviOkay, so this is a weird book.
First, lemme say that I watched the namesake movie some 15 years ago or so, and I liked it a lot. It would seem the movie is based on the first 1/3 of this book. Indeed, the book has three parts, or three distinct stories, which are still interwoven into one overarching plot.
The book follows Anton, an Other serving the Light in the Night Watch and fighting, you guessed it, the Day Watch, who are the servants of the Dark. The Others live in the Twilight, a reality behind our reality, and they use magic to steer humanity between good and evil.
The premise is interesting, the story unique and original, the writing gritty and rather captivating. The first story is great, it has excellent balance between mystery, crime, romance, and action. The second story is focused on a "rogue" Other suddenly showing up. The protagonists from the first story are still there (Anton, Olga, Sveta, Egor), but their dynamic is off, and there's too much philosophical pondering.
It's the third story that totally ruins it. It's just one giant repetitive philosophical pondering much like the (best) early post-modernistic 19th century novels, and almost no action at all. In particular, the ending is abrupt, weird, has no logic, doesn't explain what happens, and leaves the reader with a sense of anger and confusion. Maybe the author didn't know how to end it, but it really spoils the overall feel. I am still struggling to understand what was the purpose and the message of the last story.
All in all, this is a nice piece of urban fantasy, but it has too many incomplete bits and pieces. There's ton of room to develop characters and their relations (lots of it feels forced), the over-simplification of good vs bad can be infuriating sometimes, and that ending ...
Anyway, there we are. A limerick? Not today, I'm afraid.
There is nothing really wrong with this book, but there's also nothing really right about it, either. While I enjoyed the fiI'm going to DNF this one.
There is nothing really wrong with this book, but there's also nothing really right about it, either. While I enjoyed the first volume quite a lot, and the second so so, now I find myself feeling apathetic about the whole thing. Perhaps I got older and more dinosaury, or maybe the plot got less good.
The characters act childishly, the sense of gunpowder/revolution/magic is gone, and the political situation is a cardboard imitation of the European 17-18th century wars. Not quite how it started. And I don't want to over-analyze the whole thing, either. I tried, didn't work out, shrug, move on.
I've read five books in this series so far - and Rivers of London remains the best. It had the best dynamic between the characters, theA weak 3 stars.
I've read five books in this series so far - and Rivers of London remains the best. It had the best dynamic between the characters, the best mix of magic and reality, the best history punch, all of it.
Since, progressively, the books - very much like the Harry Dresden lore - introduce new characters, new magical species, but this feels a bit forced, and as a result, the interaction with Lesley, Nightingale, even Beverly has suffered because of it, even if some of these get more "air" time.
Foxglove Summer brings a brand new mystery - 'tis a good one - but it's a side plot, it doesn't really related to the main narrative of the series in any way. There were some rather cool elements, but again, the interactions feel forced, an afterthought - and the ending is really Scooby Do. A build-up that is resolved in two pages. It feels like the author had NO idea how to end it in any meaningful way.
I'm taking a break from the series now. It's still decent, and Ben writes really well, but there's no magic anymore.
Let's start with the good parts: More magic, more lore, a new and very cool twist, some really epic scenes (under ground). The mystery here is also more convoluted, and the closure more natural.
Now the bad parts: Lesley doesn't get enough spotlight, the focus on the "bad wizard" feels out of place, because he simply wasn't there in the first book, and there's a bit of formulaic repetition. In Rivers of London, the plot was tight, the chemistry between Peter and Nightingale and Peter and Lesley really cool. Here, there's far less of that, and while the detective side is "grander", there's also less proper character development.
I enjoyed the book enough to start immediately with the fourth volume, and I'm not experiencing material fatigue. Ben has a real knack for writing, and he does a splendid job, but it's hard keeping up with a phenomenal debut. All in all, decent and recommended, better than the second volume, but the almost fae magic of the first book cannot be matched.
Now, a limerick:
In the city of London, a body was found, Pottery shards, whispered sound, FBI and art, Navvies a-chart, The action takes us deep underground.
I somehow managed to accidentally remove this book from my collection, and thus delete my review. Very frustrating. Anyway, this was really good. HighI somehow managed to accidentally remove this book from my collection, and thus delete my review. Very frustrating. Anyway, this was really good. Highly recommended. But if you wondered what details I might have written several months ago, the words are forever gone!
The second book in the Peter Grant series is an ... odd one.
First, I must draw many parallels to the Harry Dresden series - first-person narrative, maThe second book in the Peter Grant series is an ... odd one.
First, I must draw many parallels to the Harry Dresden series - first-person narrative, magic, supernatural and paranormal phenomena. The big differences are, Harry has a trenchcoat, Peter has the full English breakfast. The similarities are many. Same same but different.
Anyway, the second book follows Peter's endeavor as London's second-best magic-practicing police constable. The setting is similar to the first book - there's a murder, it feels more than the sum of its parts, and henceforth begins a nice Sherlocky investigation, full of twists and turns, magic and spam (canned meat).
I enjoyed this book much less than Rivers of London. It was less punchy. It was less focused. There's a whole part about Peter's love life that feels cheesy, like one of them 80s soap operas. The sense of mystery and dread are not as good as the original. That said, it's still a decent book, and I've already started reading the third. It's just that the plot meanders a bit too much, and the invocation of an arch-nemesis idea AKA Magic Moriarty is a bit overdone.
Since this be Bri'ish book, we must limerick:
When Peter had a corpse to check, He didn't expect a musical deck, Jazz and swagger, Man and tiger, An old enemy has come and beck.
In the past few years, I've struggled finding fresh new fantasy novels - it would be the same old coming-of-age slow-pace bigThis is a very nice book.
In the past few years, I've struggled finding fresh new fantasy novels - it would be the same old coming-of-age slow-pace big-lore stuff all over again, and after a while, the effort drains your fun and energy. But then, I discovered Django Wexler's The Shadow Campaigns series, and I must say, it's a very pleasant discovery.
The Shadow Throne continues the story from the first book in a skillful way - we have Marcus, Winter as the prime protagonists, and there's a new kind on the block, Princess Raesinia. It's a pleasant blend of somewhat naive late 18th century politics and warfare, magic, masquerade, and personal intrigue.
The pacing is good, there's no silly rehash of the plot, there's good continuity, we also get to see more "behind the scenes" for both Winter and Marcus, although I did like the army stories in Khandar a bit more. Here, there's too much focus on the "revolution" at home - the whole French Revolution idea is a bit overdone. Raesinia isn't a bad character, but she isn't distinctive enough, because all that happens around her can be attributed to either Marcus or Janus. The chemistry between Winter and another female character (no spoilers) is pretty solid, especially toward the end of the book.
Speaking of the end, it feels a little rushed. There isn't any great sense of tension or drama, and you don't really feel like there's any great trouble in store for the protagonists. Perhaps the author is merely setting the scene for the third volume, but it would have been nicer if I fretted ever so slightly about what could/would happen.
All in all, 4.5/5.0 - mini minus points for the French Revolution hints and the less-than-cliffhanger ending. Even so, this is a very fresh, interesting book. I like the writing, I like the vibe - it reminds of the good ole age of fantasy, and it's nice to be able to recapture that emotion.
Recommended - I will definitely be reading the other works by Django soon.
Should we limerick? Yes, we should, except let's do it somewhat differently, hm?
Arise, children of the Vordan Our day of glory has arrived Against us the bloody flag of Orleanko is raised; the bloody flag is raised. Do you hear, in the countryside The roar of those ferocious soldiers? They’re coming right into your arms To cut the throats of your sons, your comrades!
To arms, Vordanai! Form your battalions Let’s march, let’s march That their impure blood Should water our fields.
I am giving up on this book rughly 10% in. Just not worth it.
A Little Hatred is "Half a X" series rehashed for "adults" (not that the other one was inI am giving up on this book rughly 10% in. Just not worth it.
A Little Hatred is "Half a X" series rehashed for "adults" (not that the other one was in any way YA) plus a bit of The Heroes.
Looking back, I was rather fond of Joe's works, back in the day, but if I think about it more carefully, it's only Best Served Cold that struck me as a masterpiece. The First Law trilogy was decent but definitely not amazing. The Heroes and The Red Country were pay-per-word pieces, it seems. The usual gritty combat, tall girls with spiky hair, some decent humor, but then also a lot of formulaic banter, the over-emphasis on would-be vikings, and such.
The Shattered Sea trilogy really highlighted for me the repetitiveness of the whole deal, with the story of The First Law retold through a new set of seemingly younger characters. But they also had the adult, old cynicism, which simply doesn't fit. Plus, you get more vikings and tall, thin girls. Worst of all, there was a whole sea of endless quote-like sentences, with people speaking like Shakespearean characters livestreaming the awesomeness of their voice. Annoying.
Now, there's a brand new trilogy, and it feels like a "reboot" - The First Law, only 20-30 years into the future, with the children of the characters we saw in the past continuing the action and drama and whatnot. But then, on its own, that wouldn't be too bad.
The real problem is, we have the quote-like speech pattern from The Shattered Sea superimposed on the characters in A Little Hatred. It's everyone. It's Leo, it's Finree, it's the two forgettable northern women from the first chapter. Sentence, sentence, remarkable quote. Repeat.
The extra problem with this, beyond killing the narrative, is that everyone speaks EXACTLY the same. From ladies in the city to the ladies in the hills. The effect is jarring. You have the gritty northern (viking) women talking all very casual, then all of a sudden, a thespian sentence drops in, then more slang and slur, then more thespianism, and so on it goes.
I started skipping entire paragraphs, and felt there was no point to reading this book. I mean I've read it all before, multiple times. There's really no reason to read all of that yet again bundled into a single new volume. A Little Hatred does not feel original, and there's nothing that made me want to continue. Sigh.
This is a great book. But nowhere near as good as Kings of the Wyld. The latter is simply one of the best fantasy works I've ever read, and the most rThis is a great book. But nowhere near as good as Kings of the Wyld. The latter is simply one of the best fantasy works I've ever read, and the most refreshing novel I chanced upon in the last decade. Which makes for a very tricky sequel.
Indeed, Bloody Rose is only spectacular. A very fun and enjoyable book with the usual mix of crazy, fun, melancholic, sweet, sad, poignant, dark-humorish, magical, and weird, with a fast pacing and lots of clever characters. Stardust meets Conan meets the Bangles.
But, but, but, but, but ...
There was more of everything in the first novel. Bloody Rose takes a few grim turns here and there, or it slows down for no good reason, and the fun element is ever so slightly less than the first book, and the magical bond between Slowhand and Golden Gabe just can't be replicated.
Here, the protagonist is a girl named Tam joining Gabe's daughter's band, Bloody Rose. And they go about hunting monsters and fighting monsters. In this regard, it's more of the same, but the urgency of their mission is nowhere near as genuine and deep as it was in KotW. There's also some modern-day clicheness but it doesn't detract too much from the plot. You still get a good dose of new, fresh ideas, and the book picks up pace nicely in the second half. All in all, thoroughly enjoyable.
If you liked the first novel, you'll like this one too. If you LOVED KotW, then you will be just moderately satisfied with the sequel, because some things can't be beat.
Limerick:
When Rose and Freecloud after Sigurd went, They met a bard 'twas cheap to rent, Satyrs and sylfs, Golems with glyphs, Who can hear Winter Queen's lament?
If you were mistaken, this is meant to be read Borat style.
Because his sidekick Azamat is the protagonist in this book.
Altogether, TI like, high five.
If you were mistaken, this is meant to be read Borat style.
Because his sidekick Azamat is the protagonist in this book.
Altogether, The Crimson Campaign is a better book than Promise of Blood. Mostly, because the characters are already established, you can sort of forgive the Scooby Doo moments, and there's more variety. Taniel, Tamas, Adamat, Bo, Faye, Nila, Ka-poel, they all get their share of spotlight in a balanced way. Twists and turns and all that. The battles are also a little simplistic, but we get a bit of background on Tamas' life, and it's not all slash-n-dash. Plots, betrayal, politics. Noice.
There are also somewhat childish elements here and there, but nothing too major. This is solid fun, and it feels like 18th Century Europe (ergo, you should read Tamas as Tamash) plus 80s Miami Vice style magic, i.e. ingested through the nostrils.
Very rounded. So even if you're undecided after the first book, the sequel is definitely more enjoyable.
A little songlet, if we can:
Tamas and Bo, I was defeated, you won the war Adopest, Promise to love you for ever more Taniel, Couldn't escape if I wanted to Adamat, Knowing my Faye is to be with you Wow wow wow wow Taniel Finally facing my Ka-poel
This is the fourth book in the series, and it's the first that I felt decidedly meh about.
Overall, it's classic Dresden - mystery, supernatural powers, and such. So far so good.
But that dude what helped him "mysteriously" in book 2 (or 3) is suddenly gone, and there's a new sidekick. I don't like these almost random additions.
Then, this is the first book without a real investigative plot. It's about Harry being tired and harried by the evil faeries, and too many fight scenes against this and that monster. Also, throughout these supposedly cliffhanger scenes, there were rather childish metaphors and saying - like Harry doing a Road Runner meep-meep impression to an immortal being before running away.
Speaking of cliffhangers, there were a million "charging at me" moments, and they get pretty boring quickly. It's like TV-cue-commercials scenes, where you see a car about to hit someone, but after the break, the scene rewinds ten seconds back, and the impeding doom takes forever to happen. It's like time and space extends by a good 10 seconds and 10 meters each time someone decided to attach Harry, and then he has time to contemplate for a full page before something happens. Every single time.
There was some sloppy editing - almost identical copy-paste of words/phrases back to back, typos and such. Didn't see these in previous books. But using something like magic or faerie three times in ten words is a bit pushing it.
I am not someone who gets attached to characters - especially not in 1st person book - but while I cared about Harry in books 1-3, here he is just a comic cardboard thing that recycles names of brands and cheap food and cliche sayings from the late 80s like it's a sponsored MTV clip.
I know there are many more books in the Files, but if things continue this way, I won't continue. There was some improvement and fleshing out of the story, the character in the first three, but this one feels like an afterthought.
This is the best book I've read in years. Truly amazing.
I took my time reading it, I savored every word, I didn't want to finish I rate this book 6/5.
This is the best book I've read in years. Truly amazing.
I took my time reading it, I savored every word, I didn't want to finish it.
A bunch of old, retired mercs reunite for one last job - to save the daughter of one of their members from a besieged city of Castia, encircled by vast hordes of monsters led by an immortal druid lord. And so Clay, Gabriel, Matrick, Moog, and Ganelon embark on an peic journey of laughter, action, absordity, magic, sadness, fun, and beautiful prose.
Nicholas writes like some mad dancer flailing burning swords - high, low, thrust, parry, crazy tricks and brandishes. You go from total madness to profound intelligence to heartcrushing sadness to Monty Pythonesque brilliance to utter joy in one paragraph, and you're left wondering what the hell just happened, your senses turning to honey.
This is somewhat like Terry Pratchett in his best days of Vimes and Joe Abercrombie before YA stuff combined, with a pinch of Neil Gayman's lurid fantasy for good measure. Nicholas Eames portrays a truly bewildering world, managing to dump some hundred odd monster types into a storyline without making it sound dull or formulaic. The lore, the history, the personal stories, the love, the twist upon twist upon twist, the constant seesaw of emotions, the landscape, the technology and machinery, the places. Damn.
There isn't a single boring moment, a single word wasted. I can't think of one misplaced character, action, sub-plot, or even a description. Everything works beautifully, magically. This is by far the best fantasy read that I can remember for a long, long while, and it sure has broken a spell of bad and mediocre fiction books that I've endured recently.
I can't heap enough praise on this wonderful, wonderful gem.
I'm more than looking forward to the sequel.
Now, maybe a songlet (imagine Kit the Undying singing it while playing his batingting):
When Gab came to see his friend Clay, For Rose and Tally, he knew he couldn't stay, They formed the old band, With sword and shield in hand, A silly monster, somewhere out there, is sure gonna pay.
It's not the plot. It's not the characters. It's not the world.
It's the writing styThis was a short, unpleasant experience.
40 pages in, I'm giving up.
It's not the plot. It's not the characters. It's not the world.
It's the writing style.
Normally, I don't hate books. Some can be bad, really bad, but there's no deep emotion there. This, however, is an exception. This book is ... vile. It really evoked the feelings of disgust and hatred in me, and within only a few pages. That's quite an accomplishment.
The writing style is odious, depressing, very Victorian and modern at the same time, tiring. Can't really put my finger to it. Something is horribly, horribly off here.
If the author's intention was to create some morbid tuberculoid steampunk world full of alien races that will make you want to cleanse your soul with a sandblaster, then mission accomplished. Otherwise, this is a giant, odd wtf.
Damn, I'm really having a bad streak of reading luck with fantasy novels lately. This is the fourth or maybe even the fifth book straight tDNF at 75%.
Damn, I'm really having a bad streak of reading luck with fantasy novels lately. This is the fourth or maybe even the fifth book straight that I DNF-ed.
I liked Blood Song - thy evidence here - but this book just didn't deliver, on many fronts.
In Blood Song, I complained how the second part of the book felt forced, and how Vaelin comes across as an old man. The same phenomenon happens again, on an even bigger scale. Tower Lord starts all right, but then loses momentum. It turns from a twilightly novel (not quite dark) into a light, casual adventure a-la Locke Lamora sans all the fun stuff. Also, this is not a book by Scott Lynch.
So what happened?
The beginning was decent - but then suddenly, there are these million new characters we never met, saw or heard in Blood Song. Almost an attempt to broaden the world from a coming-of-age magical tale into a bigger, pseudo-political saga with lords and ladies and whatnot. I had no idea who 80% of characters were.
Then, there was some element of suspense. But the author completely changed tack midstride. There were probably four or five situations where he could have continued the story with thrill and maybe even fear, but he resolved it within less than 2-3 pages each time, unable to give us anything than a casual YA fright.
For example, this girl suddenly transforms from a beaten orphan cum religious fanatic into a majestic lady with authority and gravitas of a born noble, in a span of a few short weeks. And then this other person gets captured, so you think, great, anguish and whatnot, nope, it all gets fixed in about 10 minutes with no casualties, pain or anything. I stopped caring completely.
Everything became frivolous, the story lost plot, and I also stopped reading. Meh.
I'm sad that this happened, because I'm really looking forward to some honest, adult novels. I'm now reading one or two new ones that look like promising candidates. But we shall see.
On this front, Tower Lord is a gravely missed opportunity to make an epic work. I like Ryan's style, he has skill and imagination, and he did make a superb first volume, so I really have no idea what happened here. Even this one started strong, and then just lost it. Like tossing candy floss into a river.
A little poem to end it all:
Frentis was no apprentice, Reva was no diva, Al Sorna was no mourner, And Lyrna was a learner, You think 'twould be a page turner.
But YA called, The story stalled, My spirit was galled.
I wanted fun, I wanted adventure, I was to howl, For this Christmas, Tower Lord left me with a lump of coal.
This book is very odd. Started nice, gritty like. The terse, clipped writing style is mesmerizing, and even though Well, 2.5 stars, but rounding down.
This book is very odd. Started nice, gritty like. The terse, clipped writing style is mesmerizing, and even though you get scarce information, you kind of have to pause and think, wtf just happened. Very neat. And it's the only thing that actually kept me reading on even as things started deteriorating.
The thing is, this book has no plot.
Suddenly, new elements are introduced almost like an afterthought. Hey, the Taken. Hey, the White Rose. Hey, the prophecy. And so on. It feels as though the author had no idea what they were writing, added things on the go, and probably didn't have any way of easily editing his work ('twas the 80s after all, before any fancy computers and word processors), so manually going back would have been a pain.
All in all, the terse writing style gets a little more relaxed, and the amount of sudden twists rises exponentially, all to the detriment of my enjoyment of this book. As I said, the writing style is the only really redeeming factor. Lovely style, but the plot is full of holes.
It reminds of Gemmel and Brooks combined, with maybe a touch of more modern grimdark, but also replete with the 80s naivety and quick-resolution one-offs. It could have been superb if only the dozen or so "sudden twists" were actually introduced somewhere in the book so it doesn't feel like one giant improv. If you add a major, MAJOR plot feature at 85% mark or 95% mark without even a single reference beforehand, then it feels like those cheesy camp fire horror story - it was the mailman, or the pizza delivery boy! Nah.
And so, this is a wasted opportunity at greatness. Love the style, don't like the adhockery.
Limerick:
When Croaker and Raven to Beryl went. They met some Taken on revenge bent, The Dominator and the Lady, The plot was shady, Some great writing was badly spent.
I actually very much liked the other Brent Weeks works, and the previous iUnlucky me, another book that I'm going to DNF.
Maybe I'm getting old.
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I actually very much liked the other Brent Weeks works, and the previous installments in this series. But this book is just not fun - sort of like what happened with The Expanse, I think the authors often start milking it too much at some point, without even realizing. Again, I might have aged mentally since the third book, or it's just the fact that I don't have any patience for cliche plots.
Previous books had a fair share of Gavin, Karris, Teia and Kip, more or less equally divided. This book (the half I've read) is almost entirely dedicated to Kip with a few short paragraphs given to Gavin and Teia. Unfortunately, Kip's part is one giant YA adventure, and I hate YA stuff. He is suddenly this glorious leader of special forces, but they behave like children, the descriptions of their actions are nonsensical, and the awfully banal sex phrases and terms used, supposedly meant to be awkward and witty, would make any goat connoisseur blush with shame. I don't mind stupid jokes, but there's no reason to pitch them as literary sophistication.
Anyway, I kept caring less and less about Kip, and finally decided that I wasn't interested to see how the plot progresses any more. And that's the point where one puts the book down.
Ah well. Maybe I need a break from reading. Or I should find some spectacular new novels.
Paul Kearney is one of my favorite authors. And I just had a chance to read The Wolf in the Attic.
I have to say I was mildly apprehensive. The story fPaul Kearney is one of my favorite authors. And I just had a chance to read The Wolf in the Attic.
I have to say I was mildly apprehensive. The story follows a girl named Anna, a refugee from the Greek-Ottoman war amidst the Great War (WWI), having come to England in the late 1910s with only her father, and her struggle with life in the Oxford region. The book's told in first-person narrative, from Anna's perspective, and this is a departure from all previous works by Paul. Also, it sounds daunting putting grimdark into a story told by a 12-year-old protagonist. I also couldn't escape the ever-so-subconscious comparison between Anna and Anne Frank, the attic, all that. So I wasn't sure what to expect, especially since Paul Kearney writes the most realistic, visceral grimdark out there.
I found the book ... weird.
The writing is good, and it hooks you in, and you really don't know what to expect. The seemingly naive perspective makes things even darker than they might be.
Then, half way through, something unusual happened. I can't spoil it, but the story shifted from a more social one to a fantastic one (i.e. fantasy), with some old, familiar elements that Paul has in his previous works. This feels somewhat repetitious, although the overall setting is brand new and unique. But I did find the use of old motifs a bit underwhelming, especially since I expected to find myself on the edge of the seat, dreading each new page. That didn't happen.
The end also feels a little rushed, and I think there are some unfinished elements in the book, around religion, the battle between good and evil, and mysticism. Perhaps Paul tries to combine too many narratives from various folklores, and this needs additional volumes to fully explore and/or explain.
All in all, this is a decent book, the writing is really nice, but I feel something is missing. In a way, this feels like a somewhat disjointed continuation of the unfinished story of Ran with echoes from Monarchies of God.
If you like books that will make you think, and you can't really take anything in the plot for granted, this is a solid choice. But for Kearney fans, the amount of despondency and pain are almost summertime light. One might even say grimtwilight rather than grimdark.
A pretty solid third installment in a growing series.
The world of Harry Dresden is expanding. Grave Peril does a pretty good job of introducing new chA pretty solid third installment in a growing series.
The world of Harry Dresden is expanding. Grave Peril does a pretty good job of introducing new characters, a completely out-of-the-blue sidekick that Harry gets, a bunch of new paranormal evildoers (a fresh caste - we had demons, werewolves and now ... ghosts!), and more depth and intrigue in Harry's personal life. Not bad.
The proven detective story formula is there - Harry investigates a ghost scare - cue in Ghostbusters music - and this soon turns out to be a much bigger, more sinister deal. The plot is fast, there's almost no dead time, which is a feat for a first-person book. Constant action.
The one thing that did annoy me a wee bit - there are a few too many cliffhangers. It gets exhausting reading Harry's emotional turmoil over and over again, and how he seesaws from the edge of despair back to improbable victory, always finding another ounce of magic, after being thoroughly and completely spent, each time.
The last sequence is also somewhat drawn, and some of the new characters do feel somewhat forced, however the story is quite easygoing and entertaining (if more macabre than before). But it's not a biggie, and otherwise the book is flowing. All in all, it's a fun read. Better than the first two for sure. More detail, more depth, more dimensions to Harry and his world, more sex, and we're also learning more about the magical beings and their rules and their failings. Some of it is textbook faerie, some of it Dresden proper.
So far, the Dresdenites - the fandom club - have not disappointed. They promised me the series gets better with time, and so far it does.
P.S. I still don't know what Harry Dresden looks like. I say anorexic Jeff Goldblum. There.
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