Little Valkyrie

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About Little Valkyrie

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    Landed Knight

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    United States
  • Interests
    Fantasy is my leisure genre of choice, as I usually work on High Art and all of that. I'm always interested in the metaphysics of a fantasy world.

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  1. It makes sense to me because I come from the school of reader-response theory, wherein there is a fascinating gap between "what is on the page" and "what does it mean to an individual reader" and the creation of meaning is a collaborative effort. Two readers can read a passage that's, say, describing a character's internal monologue, and bring a different interpretation to it. "I think she's lying to herself, given what she did earlier in the story" and "Wow, she's so strong and forthright" can, depending on the writing, both be makeable arguments. So people read a story and fill in blanks on their own to make things more satisfactory all the time, which may well compensate for various aspects of the writing. To piggyback on another thread, infinite annoying badly written things in The Wheel of Time (some of the quirks of dialogue, focus on spanking, braid-tugging), but I'm not gonna lie and say I didn't avidly read the adventures and delight in reaching the ending, and even enjoy characters who were written to do said annoying things.
  2. Broken Earth is a serious level up from her previous works, but I'm well on record on this board for having disliked THTK. And yet I can see it as a growth from there to the now, not as a "changed everything/hard right turn" development as a writer.
  3. That's a very accurate and honest review to my experience of the book. My main question for a would-be reader would be: do you want a strongly directed plot with urgency and forward motion to it? This book is absolutely not that and it ends and apparently there will be another. But it's not an uninteresting experience in style.
  4. I dunno, I still don't get it--DC is doing really well for itself right now, and Bendis-qua-Bendis as a selling point is something I'm pretty unconvinced by. Sure, way back USM was a juggernaut, but that was in a different market and also hit the zeitgeist incredibly well. Much the same with his Avengers: it's not shocking that you could boost the sales of a venerable but never top-shelf book by adding Spider-Man and Wolverine to the team. But a number of his personal pet projects you might expect to sell on his name didn't, and CW2 was just godawful. So I wonder: did he jump or was he pushed? Maybe we'll find out in a few years. (I should add and be very clear: I have an incredibly low opinion of Bendis as a writer, which I am happy to discuss in specific detail. This is kind of a nightmare scenario for me as a fan, except he'll probably end up on a Batbook.)
  5. The Twenty Palaces situation is a good example of working with what you got--the author explained clearly that sales were not there so we weren't getting another one, but the individual story of the book was wrapped up. Yes, there were major revelations in the book itself that made me go "holy crap" and I'd want to know more about, but it's the kind of thing wherein he could come back to it later if numbers and time permit and I'd pick it back up. Same thing with Black Sun's Daughter--do I want more given what happened, you bet. But they're both sitting at a resting point. Wurts I just know is very, very slow and I pick them up again once I'm two behind, because I discovered a while back that I never like the most recent book when I first read it, but I like it after I've read the following one. This is probably just me. Rawn--every few years we hear a peep that she's working on it, but I think the remaining fandom just wants to know some of the withheld details, by now.
  6. Great, now it's time for the speculation on "What book that I would otherwise like is Bendis going to shit up with his inability to direct a plot, his maybe-slightly-more-than-one character voice, and wait, I don't actually know what DC stories he's read and will lean upon repeatedly". Sigh. Still, something must be deeply weird/wrong at Marvel for him to leave a place where he's gotten to do everything he wants with very little editorial oversight.
  7. I do feel for her. I'm sitting on an unfinished project that pokes me like a sharp knife. There's a very faint flicker of hope that pops up occasionally--the damn thing is still listed as 'in progress' on her website. You might be interested to hear that people in largely female-fandom spaces (like people writing fanfiction for Yuletide) still remember and are aggrieved by this one in particular; I think it's because the matriarchal world of EXILES meant a lot to people who got it at a certain age. But it was also not quite a GRRM or a Rothfuss in that she came back and she said "Hey, old fandom, I'm not giving you what you want after I left you on a brutal cliffhanger, but surely you will follow me over to these other books that I am writing, right?" And there's where the handshake broke, and the new stuff hasn't sold. It's surely a hard market, the genre shift is often something dictated by publishers (won't you write something more in line with what's hot? Katherine Kerr has talked about that, with writing urban fantasy instead of Deverry, but there were also serious health problems involved there), but I don't think you can rule out an alienated fanbase as one factor, not in this one.
  8. Maybe not entirely fair, but I treat things like TV which are the product of so many hands and have complex network and funding obligations very differently than books, which do have editors and publishers but are usually the product of one (or two people). Comics fall a bit into the middle. I won't touch an unfinished Brian K. Vaughn book any more because he has a nasty habit of mid-series slumps and shitty endings. I am annoyed but understanding when a Big Two work aspires to longform but ends up not getting around to everything it promised, because the pressures of monthly serial production and "Oh hey, you have to line up with this event" are considerable. But even in those cramped spaces, it's worth nothing who finishes a good portion of what they set out to do and who, you realize, you've followed for this long and you got exactly what? out of it.
  9. Well, I know there are a wide variety of reasons it hasn't happened, but I haven't forgiven Melanie Rawn either. In my case, that means she gets no money or investment of interest from me, or promotion of past works. There's no legal obligation but I lean on the side of "promise", which is to say: "I am letting you know that this is a project that will not be completed in a single volume. You are taking a risk by signing on at the beginning of this project, but I have the intention that this will reach a conclusion." A bit of a handshake. (I posted this not having seen the Rawn-mention that went up at the same time, just to clarify.)
  10. Yeah this is one where I'm all "screw around with trying to buy from UK to get NOW or realize ha ha work has you so tied down you're not going to get to this for a month" and the latter won. But I want this book very badly, and I'm so glad to hear it's living up to promise.
  11. I, for one, had forgotten about the dialogue stylization tics until you guys reminded me and then it all came rushing back and nooooo
  12. Tim Powers is Catholic so his politics might well be akin to Gene Wolfe; somewhat culturally conservative but not necessarily along the current hot-button axes of US political life.
  13. The Discourse kind of warned me off the book (although some of it was an interesting read in its own right) but taking the spoilery plunge and reading the author's own notes on his first few chapters, wherein he talked about how sick and wrong he made his antagonists to show what horrible people they are and how bad their ideas are and how they reflected real world issues, that put the nail into the coffin for good.
  14. I finished it and there's some interesting stuff in there once you get into the verbal tics, but I found it oddly formless as a book, even with the clear plot goals laid out for at least one of the storylines (being generically non-spoily here). This might sound odd, but it gave me a similar impression for why I bounced off Erikson after 1 1/3 books: in my secondary world fantasy leisure reading, I tend to like books that go somewhere strongly, that have some sort of setup/development/resolution structure, and I couldn't find anything strong enough to anchor on to. Why do I care if these people are doing these things.
  15. I always like the background ideas/things that get hinted at in a Hurley book more than I like what the actual page space is spent on elaborating. You'd think I'd learn, but I always go "Maybe THIS book will be different", no...