I'm a long-time role-player/gamemaster and reader of SFF, and I've read, created, and played (and written!) a lot of stories.Good stories come from good characters. We all know that. But part of what makes characters good is that they're believable, and to me their believability is inextricable from the worlds they come from. A world-build—setting, weather, technology, magic, science, cultures, and languages—should BE as much of a character as the protagonist(s). While I admit a fond nostalgia for ye olde semi-Euro-medieval setting, I lovea world-build that challenges or surprises me, and I love the characters and stories that come out of those worlds. I hope you do too.
Snowdenaelikk, conjuror and heretic, lives on the edge of the Illhari Republic—and the law—as a cartel enforcer. But when a smuggling deal goes bad, a village burns, and she finds herself running from a legion patrol.
Veiko Nyrikki is an outlaw and an outlander, just trying to survive… until his sense of honor—and his ax—get between Snow and the legion. Now he’s got new enemies, new allies, and he's talking to ghosts. Survival’s just gotten complicated.
But Snow and Veiko soon discover that ghosts and legions are the least of their worries. The Illhari Republic is built on the bones of a banished dragon god, and that god just found her way back. And now—now, she wants revenge.
I love a good re-imagined fairytale, and Tidbeck delivers...except it's more like she took all the fairy tales, smashed them, and reassembled them in a mosaic that's both familiar and alien at the same time.
Dora and Thistle are two among many children trapped in the Garden, servants to the fairy-like overlords who, when those children grow up, will eat them. Dora and Thistle escape, but so does one of the wicked overlords....
The prose is gorgeous, and the story is all the things fairytales should be: magical, terrifying, fantastic, with journeys and helpers and—well. I won't tell you if the ending is happy or not. Read to the end and find out.
From the award-winning author of Amatka and Jagannath—a fantastical tour de force about friendship, interdimensional theater, and a magical place where no one ages, except the young
In a world just parallel to ours exists a mystical realm known only as the Gardens. It’s a place where feasts never end, games of croquet have devastating consequences, and teenagers are punished for growing up. For a select group of masters, it’s a decadent paradise where time stands still. But for those who serve them, it’s a slow torture where their lives can be ended in a blink. In a bid to…
I am a sucker for an unusual world-build, but I also love a good morally grey hero.
Harmon delivers both. Most of civilization exists underground with a frozen wasteland above, with populations gathered into politically discrete city-states.
The magic is half chemistry, half alchemy, and unique. Our protagonist, Ig, is an elemental bound to the service of one of those city rulers, forced by that binding to kill (or whatever else he's told). He wants to be free. And that's about where you can stop imagining you know how this story will go.
The tale is dark, violent, intricate, and grimly delightful, but there's a bright sliver of hope: just enough, anyway, to show you how dark the shadows are.
Among boiling volcanoes under Mira's frozen lands, people like Ig are forced to undergo life-threatening trials that bind chemical elements to the human body. One of Mira's most powerful elementals, Ig serves as an enforcer for Magnate Sorrelo Adriann, but is cursed with flesh binding magic that will kill him at the first sign of disobedience.
When Sorrelo is overthrown, Ig quickly learns he can do far worse than what has been asked of him so far. If he can't escape the flesh binding in time, he will have to…
Look, Jemisin won the Hugo for this and for good reason.
The first page will punch you in the gut, grab you by the collar, and drag you into the rest of the story. (That first page may also make you cry.) Like Harmon's story, there's an element (pun intended) of geology.
Or many elements: the earth, you see, is broken—some cataclysm, some collapse, has happened, and the world itself is dying. Orogenes—geomancers, basically—can both tame and aggravate the unquiet geology.
So of course they're feared, rounded up, and enslaved for everyone's safety, and also to save everyone if they're needed. Our hero, Essun, is an orogene, and she's got her own plans.
The story is about how trauma never really leaves you, and systems of oppression damage everyone they touch. But it's also about a mother who loves her children, and a child who never asked to be special. This story haunts me.
At the end of the world, a woman must hide her secret power and find her kidnapped daughter in this "intricate and extraordinary" Hugo Award winning novel of power, oppression, and revolution. (The New York Times)
This is the way the world ends. . .for the last time.
It starts with the great red rift across the heart of the world's sole continent, spewing ash that blots out the sun. It starts with death, with a murdered son and a missing daughter. It starts with betrayal, and long dormant wounds rising up to fester.
It's the story of a "half-werewolf," as told by that half-werewolf to a professor, Alok, in Kolkata, India. There are tales written on skins, and tales of changing skins—these werewolves, though, they don't just change shape.
They devour, body and soul, their victims, and so change themselves in the process. I love me a good mixed genre, and this one is fantasy, horror, and historical fiction together. And the prose is just beautiful.
The cold day never ends. With nothing but time on his hands, Jake was on a simple drive to visit his brother until he was attacked by a strange convict. Now, he doubts his sanity at every turn as he finds himself decades off course and caged in, with an ancient American evil.
Shapeshifting lizard people. Oh. You want me to say something else?
How about... a world like no other, peopled by all manner of beings (but no humans, which is honestly a delight). The setting is so fantastic, but also so meticulously designed—every settlement and civilization feels organic, fully realized, and unlike anything else. But what about the story—?
Moon doesn't know where he's from, but he knows he's the only shapeshifter he's ever met, and the only person with wings...and worse, he thinkshe's part of the terrible Fell, a species that seems to be invasive and hostile and looks a lot like him.
Then he meets another Raksura, and learns how wrong he's been about everything, including himself.
Nominated for the 2018 Hugo Award for Best Series. "Wells...merrily ignores genre conventions as she spins an exciting adventure around an alien hero who anyone can identify with."-Publishers Weekly, Starred Review
Moon has spent his life hiding what he is - a shape-shifter able to transform himself into a winged creature of flight.
An orphan with only vague memories of his own kind, Moon tries to fit in among the tribes of his river valley, with mixed success. Just as Moon is once again cast out by his adopted tribe, he discovers a shape-shifter like himself . . . someone…
I’m an old guy. I say this with a bit of cheek and a certain amount of incongruity. All the books on my list are old. That’s one area of continuity. Another, and I’ll probably stop at two, is that they all deal with ordinary people caught in extraordinary circumstances—those curveballs of life we flail at with an unfamiliar bat; the getting stuck on the Interstate behind a semi and some geezer in a golf cap hogging the passing lane in a Buick Le Sabre. No one makes it through this life unscathed. How we cope does more to define us than a thousand smiles when things are rosy. Thus endeth the lesson.
Nine Stories Told Completely in Dialogue is a unique collection of narratives, each unfolding entirely through conversations between its characters. The book opens with "God on a Budget," a tale of a man's surreal nighttime visitation that offers a blend of the mundane and the mystical. In "Doctor in the House," readers are plunged into the emotionally charged moment when an oncologist delivers a life-altering diagnosis to a patient. The collection then shifts to "Prisoner 8086," a story about the unlikely friendship that blossoms between a prison volunteer and a habitual offender, exploring themes of redemption and human connection.
The heart of the book continues with "The Reunion," a touching narrative about high school sweethearts reuniting, stirring up poignant memories and unspoken feelings. "The Therapy Session" adds a lighter touch, presenting a serio-comic exchange between a therapist and a challenging patient. In "The Fishing Trip," a father imparts crucial life lessons to his daughter during an eventful outing, leading to unexpected consequences. "Mortality" offers a deeply personal moment as a mother shares a cherished, secret story from her past with her son.
The collection then takes a romantic turn in "The Singles Cruise," where two individuals find connection amidst shared stories on a cruise for singles. Finally, "Jesus and Buddha in the Garden of Eden" provides a satirical, thought-provoking encounter in the afterlife between two spiritual figures. The book concludes with "The Breakup," a nuanced portrayal of a young couple's separation, told from both perspectives, encapsulating the complexities of relationships and the human experience.
Nine Stories Told Completely in Dialogue is a unique collection of narratives, each unfolding entirely through conversations between its characters. The book opens with "God on a Budget," a tale of a man's surreal nighttime visitation that offers a blend of the mundane and the mystical. In "Doctor in the House," readers are plunged into the emotionally charged moment when an oncologist delivers a life-altering diagnosis to a patient. The collection then shifts to "Prisoner 8086," a story about the unlikely friendship that blossoms between a prison volunteer and a habitual offender, exploring themes of redemption and human connection.
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