2,5 stars.
Ah, Stackpole. You are ridiculous.
You do get a little better, though, I’ll give you that.
In the third instalment of the “Rogue One” series, the New Republic must do battle on many fronts. The Krytos virus, engineered on Ysanne Isard’s orders, is attacking the non-human population of Coruscant, and the death toll is staggering. Simultaneously, Kirtan Loor, secreted away in the city, is striking at the New Republic with his Palpatine Counter-insurgency Front, destroying, among other things, bacta reserves, invaluable in curing the Krytos virus. On a third front Warlord Zsinj is making his bid for power, striking at their convoys.
In other words, this instalment is rife with excitement, and it has been the most enjoyable of Stackpole’s books so far. In earlier instalments, perhaps particularly the first book, he had a tendency of diffusing all tension by basically skipping all the most exciting parts and summarising them after the fact. Thankfully, this is a technique he has (largely) put behind him, so that the reader actually gets to experience things as they are happening.
This book was actually so exciting at times that, had it not been for Stackpole’s continued and obvious ignorance of basic human interaction, I might have been tempted to give this an even three stars.
I’ve expounded on the problems with Stackpole’s characterisation in previous reviews, so I will only summarise here:
1. Stackpole has three descriptive terms for the female physique, and they are “trim”, “lithe” and “slender”. Other female body types do not exist. Women are also consistently described in terms of how much their male colleagues and friends may or may not wish to have sex with them. This gets really irritating after a while.
2. Stackpole does not know how human beings (and/or aliens) relate to one another. The most ridiculous example in this instalment is when (MILD SPOILER) Wedge contemplates asking out Iella Wessiri. He imagines a whole relationship in his head, having only just developed an attraction to her, and when he discovers her husband is alive, he realises that this man he does not know (AT ALL) is obviously a much better fit for her than he could be.
Characters have a sorry tendency of jumping to conclusions in this way, of betraying more knowledge and foresight than they could possibly have at a particular juncture. Stackpole confuses the narrating voice with that of his characters. The narrator can, of course, be omniscient, and can therefore make these kinds of judgments. His characters must, however, travel the slow path if their thoughts and actions are to be considered even remotely believable.
3. Stackpole insists on pairing everyone off and creating a bunch of romantic angles that simply aren’t interesting, largely because he has no skill in writing them. He should stop.
4. Stackpole’s vocabulary and syntax betray that he lacks quite a bit in the English department, and there are parts where I wonder if his writing has actually gone through any kind of editing process.
5. He creates this huuuuuge tense vacuum surrounding the identity of the spy in Rogue Squadron. I’ve known who it is since the first book. Lol.
Ok, this review is already longer than I had intended, and seems very negative. And there is a lot to nitpick at when it comes to Stackpole’s writing, but this book really is better than its predecessors. If Stackpole can just avoid the interpersonal relationshippy stuff in the next instalment, who knows but that he might receive three stars at last?