Wednesday, July 29, 2026

Honor for the Dead - Connor Ludovissy

Honor for the Dead is a thoughtful, character-driven and above all entertaining piece of what we're now calling "flintlock fantasy", Flintlock fantasy, if you're unfamiliar, intersects fantasy worlds with the technical and social aura of the 19th century - blackpowder muskets and smoothbore pistols sitting alongside monsters and dark magic. It's a bit of a niche of its own inside the genre, and another entrant in the field is always welcome. 

It helps that Honor for the Dead is rather good. 

The story focuses on Ao, a villager-turned-infantryman for a nation which seems to be sitting on the edge of the war with its neighbour, the auspiciously named "Kings". Quite who started the war, and what they#re getting out of it, is unclear, at least as the story begins. But Ao is quick to discover that war isn't as much heroic last stands, glory and victory parades as it is blood, and mud, and dead friends. The text is unflinching in showing the costs of conflict, though it also makes time to show us the courage and tenacity of the soldiers as well. 

Ao is a compassionate, empathetric individual, with a fairly well developed sense of right and wrong. He's also a member of an ethnic minority that is at best tolerated, and at worst violently discriminated against. His struggle to shape who he is to fit social expectations while also still being himself is fascinating to read, especially as he's still trying to decide who he is, even while working out what the military expects of him. Ao just wants to do his best, doesn't want to be defined by what his family have done, or what his people have done, wants to step out and be a hero.  It soudns simple, but as we turn the pages, Ao discovers that all of these things are more complex than they appear on the surface. If his family have a history of desertion, was it justified? If his people are discriminated against, is it worth asking why, and how much is he willing to tolerate it? If there's a war, what started it, who benefits, and how does it end? If Ao isn't just a simple farm boy, then who is he? As a protagonist, Ao is a lot of fun to spend time with, and if his moral wrestling sometimes drags a little, he makes up for it with resilience and a genuine desire to do good. Whether that's going to work out, on the other hand, is anyone's guess.

In his defence, Ao is surrounded by people who are somewhere between moral ambivalence and outright psychosis. Fellow new soldiers get the shine knocked off of them very quickly, and his officers are either pragmatic killers, or individuals sufficiently out of their depth that their capacity for doing terrible things is far greater than the constraints set out to stop them. There's some question of who the antagonist is for this story - the enemy army, which wants to kill everyone, or members of Ao's own unit, who do a wonderful line in delicious malevolence with a side of brutality. Interestingly, the latter get their own viewpoint sections, and they're as unpleasantly compelling as you might expect. 

Ao (and his many, many enemies) live in a rich  world, with a history that I can feel just bubbling under the surface. Honestly, the local area is wonderfully described, to the point where I think I might be able to navigate it myself. The forests, mountains and horse-ranches have a deep sense of place, of having roots about them. I would have liked to hear more about the rest of the world, though - there are hints about the Kings, about why the nations work as they do, of a shared history, of mistakes, of places other than small villages on contested borders - but we don't get enough time to make them as real as I'd like. Still, perhaps this is something the next book will rectify. In the meanwhile, I shan't complain too much, because what we have  is a slice of space and time that has a real depth and texture to it.

And the story, well, there's a fair bit of military marching and muskets going off, and battles in close order (and otherwise). There's betrayal and disaster. There's more than one victory, some of which even stick. And there's a boy growing rapidly past his expectations and dreams into a man, one who may be able to change the course of, if not the war, at least his little patch of it, for the better. It's a snappy read, and one that kept my attention from the first page - and as such, I'd say it's worth giving Honor for the Dead a look. 

Thursday, July 23, 2026

Back next week!

 We've been on vacation the last few weeks, we'll be back next week!

Wednesday, July 8, 2026

Star Wars: Inquisitor: Rise of the Red Blade - Delilah S. Dawson

Okay, first of all, all the colons in there aren't my fault, okay? It's just a mouthful of a title. And despite being something of a mouthful, Inquisitor: Rise of the Red Blade is also a really interesting story. Broadly, when I think of Star Wars, it's in the context of its heroes, those who stand up in the face of evil and fight back - from the chivalric everyman rise of Luke Skywalker, to the cold-war-spy heroics of Cassian Andor and Kleya Marki.But this isn't a story of risign heroics, it's a story of descent into darkness, and finding out what lies at the hart of a character. It's also an emotional, thoughtful journey, one that definitely dishes out hope and hurt in near-equal measure. Darth Vader is easy to see as a monster; Iskat Akaris is a victim.

Iskat is also very sympathetic, certainly in the front section of the book. She's an outsider among the Jedi, avoided by many after a training accident caused harm to another student. Iskat works alongside a Jedi Master who seems to care for her only distantly, as an assistant in search of rare artifacts. There's none of the bond we see between Obi-Wan and Anakin here, only a more absolute distance, wrapped in a philosophy of detachment.And Iskat is trying very hard to be what everyone else wants her to be, and struggling, it seems, against who she wants to be. The story manages to show us the Jedi not as heroes, but as an institution. A bureaucracy, a school that has a model for how those within it should be, or must be, and those who don't fit that model are...disappointments. 

If you've ever been different from your peers, if you've ever felt the edge of disappointment in the voices of teachers, mentors, friends, if you've ever felt like you were alone, this will all sound searingly familiar.

Then, Iskat finds something she's good at. As war engulfs the galaxy, Iskat discovers that she can fight, and can kill, and that she's good at it. Unfortunately, despite being in a fight for survival, the Jedi Order has no time for warriors, for those who enjoy the fight, for those who make choices they might not, under pressure. Iskat finds that instead of plaudits and assignments, she faces ostracism, silence and condescension.  Individuals are so wrapped up in themselves that they don't see her pain, or dismiss it, or don't have the time to deal with it in the way that they think it should be done. So instead she's left to find her own path, riven from the support of the institution while being attacked for the choices she makes without that support.

I have a lot of empathy for Iskat.

Eventually, of course, things fall apart, and Iskat gets to decide if she wants to die a hero, or take a different path. Unsurprisingly, given the cover, you can probably guess how that turns out. But the trick is that each step of the way we're there with Iskat, living her fear of failure, her fear of ostracism, her fear of abandonment, and seeing that fear backed up in the actions of those around her, in a world that seems determined to shove her square peg into a Jedi-shaped hole, whether it fits in there or not, and no matter how uncomfortable she may be about it. And you can see how the environment around her, and the whispers of acceptance are so powerful. How finally getting to live her life as herself and not one crushed by the weight of others expectations has significant appeal. 

This is, of course, a tragedy. The rise of the red blade is the fall of Iskat, the Padawan, the Jedi Knight, even while it may also be the rise of Iskat, the person. Does she do terrible things? Of course. But we know what shaped those choices, we know that if she's not justified, she's certainly valid in her concoction of self-justification. The story doesn't flinch away from what the Inquisitors are, and neither does Iskat - she just finds the price worth it to be free - at least for a while. 

 This isn't a happy story. It's a character study of someone in pain, someone alone, someone making sacrifices every day to appear somewhere near what their society expects. It's a story of someone feeling like they have to hide who they are, of the way institutions, even benign ones, can fail us, and the costs to both them and us when that happens. It's Iskat's story, but it's a story that resonates with anyone who's ever felt like they were on the outside looking in, that they weren't being given a chance to show what they could do, or able to live as who they were. It's a story that hurts, and that's the highest praise I have to offer. It will make you feel. Go, read it, you won't regret it.