Shadowheart by Tad Williams

The armies of the Qar and the Autarch of Xis have converged on Shadowmarch Castle, which now stands siege from enemies attacking by sea, land and underground. Ferras Vansen leads a desperate fight in the subterranean depths under the castle, trying to hold back the Xixians from the mysteries which the Funderlings have sworn to protect for generations. Briony Eddon is also heading home with a small Syanese army, but her resolve to help her people is challenged when she learns that her father is a captive of the Autarch...


Shadowheart is the fourth and final novel in the Shadowmarch sequence, the third major series by American author Tad Williams. The series is a slow-burner, with a pace that can best be called 'relaxed'. Empires may be forged, armies may clash and ancient secrets may be unveiled, but it all happens at a leisurely, chilled-out rate. This is epic fantasy at its cosiest and most predictable. Which is not to say the series is unenjoyable. Williams has saved the best for last here, with a plethora of battles and a smattering of intrigue to digest before the grand finale (complete with the villains all receiving appropriate come-uppances) and the long, 100-page epilogue in which the characters' fates are all neatly wrapped up and explained.


As with the previous books, the best moments are reserved for Ferras Vansen and Chert the Funderling, who are now leading the subterranean war as the Funderlings try to hold back the invading Xixians with the extremely reluctant help of the Qar. These underground battle sequences go on for a bit too long, but for the most part are exciting and tense. This is more than can be said for the scenes involving Barrick Eddon. Having spent two enormous books travelling beyond the mystical Shadowline in search of his destiny, his abrupt return to Shadowmarch smacks of plot convenience at its most blatant. Whilst his character arc was formerly one of the most interesting in the series, as he left behind his life as a crippled royal to embrace an alien culture, here it ends in a damp squib as Barrick becomes more enigmatic and dull.

Despite these issues, Williams ties together a large number of plots, character arcs and ideas that he has established over the preceding 2,500 pages and fuses them into a reasonably good ending. There's nothing too surprising here, but Williams' solid writing skills make it all readable enough. However, the feeling remains that Williams has been wheel-spinning with a series that seems to be more of a tribute to other fantasy works (glimmers of A Song of Ice and Fire and the works of Jack Vance can be detected) and also a call-back to his own earlier (and rather more impressive) Memory, Sorrow and Thorn sequence rather than exploring fresher ground (as he did so successfully in Otherland).

Shadowheart (***½) ends the series in an effective enough manner, but, despite its immense length, this remains a minor work from an author capable of a lot more. The novel is available now in the UK and USA.

Third Age: Total War 3.0 released

The long-awaited third version of Third Age: Total War has been released. This fan-made (but professional-quality) mod allows owners of Medieval II: Total War and its Kingdoms expansion to conquer Middle-earth with one of several factions.

The new third version of the game features a host of changes, most notably the long-awaited introduction of custom battle maps and settlements, putting iconic locations such as Minas Tirith and Edoras on the battlefield to be fought over. These replace the generic Medieval II towns that had stood in for the settlements in previous versions of the game. More information on the game, including download links and installation information can be found on TWCenter.

Merlin: Season 4

Camelot is in crisis. King Uther is a shell of his former self, traumatised by Morgana's betrayal. Arthur and the Knights of the Round Table are trying to defend the kingdom from myriad threats, but they are overstretched and unable to prevent Morgana from unleashing her vengeance. It falls, once again, to Merlin to save the kingdom. But to keep his true nature secret, he must again adopt the guise of the old sorcerer Emrys, a deception that will have far-reaching and devastating consequences...


Merlin reaches its fourth and penultimate season by embracing something of a new format. The regular cast has been swollen by the addition of the Knights of the Round Table, former guest characters like Lancelot (Santiago Cabrera) and Gwaine (Eoin Macken) who are now series regulars. Uther, played as always with steely resolve by Anthony Stewart Head, has a much-diminished role as Arthur (an increasingly accomplished Bradley James) rises to the fore, now advised by his uncle, Agravaine (Nathaniel Parker, who veers unpredictably from nuanced to hammy, sometimes in the same scene). Whilst the new format is effective, there is a cynical feeling (engendered by three previous seasons of the series pulling its punches on a regular basis) that we'll be back to the 'farting monster of the week' set-up by episode four at the latest. It's therefore something of a shock when the series undergoes some massive developments in just the first few episodes, and the manner in which these developments are carried out is unexpectedly brutal.

Obviously Merlin - a show which is aimed at a audience 'from eight to eighty' as the BBC puts it - isn't going to go all Game of Thrones and start dropping beheadings and incest on us. But still, compared to the show's good-natured, lightweight approach in the first three seasons, this year gives the series teeth. Some recurring characters are killed off and there are multiple big shake-ups to the series format. The show is more serialised, with less stand-alone episodes than previously. Best of all, there are no tedious comedy episodes this year, with humour instead allowed to develop alongside more dramatic, darker storylines simultaneously. There's also more effective use of computer effects, with the producers realising that 'less is more' and making a few big, well-rendered CGI army shots is better than making lots of middling-quality ones.

There's still a few problems, however. Morgana's new secret hideout seems to be a hut about three miles from Camelot. How this has evaded detection is unclear, especially since Morgana's agent in the royal court frequently rides out (in an over-dramatic gallop) to give her detailed reports on what's going on, again with no-one noticing. There are also long-established problems that reappear, such as the same recognisable patches of forest being used for multiple scenes supposedly set in widely-separated locations. The additional issue of Camelot only appearing to have about 200 men under arms whilst all of the surrounding kingdoms can apparently muster armies in the tens of thousands in hours also recurs frequently, straining credulity.

If you can overcome these issues, Merlin's fourth season (****) emerges as the strongest year of the show yet, by a considerable margin. It is available on DVD in the UK in two volumes. A fifth and final season will air in 2012.

Merry Christmas everybody!

Merry Christmas everybody!

The Cylons' latest plan to infiltrate and destroy humanity was scuppered by the requirement for constant USB access.

New MALAZAN maps

As an early Christmas present, Bantam Transworld have released an excerpt from Ian Cameron Esslemont's Orb, Sceptre, Throne, his fourth Malazan novel. This excerpt includes a new map of the continent of Genabackis, showing the hitherto-unseen southern edge of the continent, including the oft-mentioned Seguleh islands.


This also means we can assemble a complete map of the continent for the first time:


Interesting stuff. The novel is published in the UK on 19 January 2012.

Trailer for PROMETHEUS, Ridley Scott's ALIEN quasi-prequel

Since it's that time of year when we are inundated with new movie trailers, here's another one. This is the trailer for Ridley Scott's Prometheus. Due for release on 8 June 2012, there's been a great deal of confusion over the relationship between Prometheus and Alien. Originally it was a straight-up prequel, but Scott and co-writer Damon Lindelof (of Lost fame) have tried to put some distance between the two projects, suggesting they take place in the same universe but little more than that.

From the trailer, that's obviously 'a mild understatement'. Much of the film appears to involve the crashed alien spaceship from LV-426 (and we may even see that crash in the trailer), the 'space jockey' aliens play a role, the Prometheus logo is pretty much identical to the Alien one and, most tellingly, the trailer bears an uncanny resemblance to the original Alien teaser, even using some of the same sound effects. So yeah, Alien prequel, totally. And there's nowt wrong with that, since the trailer looks impressive. Ridley Scott returning to SF (get this, his last SF movie was Blade Runner) is an enticing prospect, and the film looks solid enough at this stage.

io9 have a very interesting shot-by-shot analysis of the trailer here. And who the hell is that guy in the space jockey's control room?

THE WHEEL OF TIME is completed

Brandon Sanderson has confirmed that A Memory of Light, the fourteenth and final novel in The Wheel of Time sequence, is done.

"Ladies and gentlemen, A Memory of Light--the final book in The Wheel of Time--has been finished."

By 'finished', he of course means that the first draft is complete. He envisages several months of additional work to bring the final draft in, with publication still tentatively set for late 2012.

But still, the bulk of the work has been done, and the book will be on shelves in less than a year. Sanderson also seems to have taken a more definitive stance on the two prequels and three side-novels that Robert Jordan had planned for The Wheel of Time world, indicating that they will probably never be written.

THE HOBBIT trailer

We still have a year to wait, but The Hobbit: An Unexpected Journey has just had its first trailer released:

Looks like Jackson has done a good job of recapturing the feel of the original movie, and it's good to see McKellen and Holm back in their old roles. Freeman also looks promising as the young Bilbo, and Richard Armitage seems to be doing a good job as Thorin (though he's still a bit more Klingon-esque than I think most people had in mind). Overall, looking good.

Wertzone Classics: Unfinished Tales by J.R.R. Tolkien

Upon his death in 1973, J.R.R. Tolkien left behind a vast collection of writings about Middle-earth. His third son and literary executor, Christopher, assembled some of these into The Silmarillion, published in 1977, but the question about what to do with the other reams of material was unclear. Aware that fans of Middle-earth would be eager for more material, even unfinished or existing only in rough drafts, he assembled Unfinished Tales and published it in 1980. Its success inspired him to proceed with the far more ambitious, twelve-volume History of Middle-earth project.


Unfinished Tales occupies an awkward place in the Tolkien canon. Unlike the History series, which consists of almost exclusively non-canon material (early drafts and rough notes of material that was eventually finalised and published), the material in Unfinished Tales was specifically written by Tolkien to flesh out other parts of his mythos that were not explored in the books themselves. In particular, the writings include a series of essays which were designed to answer a wide number of issues brought up by readers of The Lord of the Rings and The Hobbit in correspondence. Some of these essays were written very late in Tolkien's life and represent his last - and often only - word on subjects such as the origins of Gandalf and his fellow wizards, the backstory of Galadriel and the history of Numenor during the Second Age. As a result some fans hold Unfinished Tales to be the fourth Middle-earth book, only marginally less important than The Hobbit, The Lord of the Rings and The Silmarillion. Others choose to disregard it as anything more than a curiosity, since as Christopher Tolkien himself notes it's unlikely J.R.R. would have permitted even the completed writings in the book to be published without more polish.

Unlike The Silmarillion, which was presented as a single narrative, Unfinished Tales is a collection of stories and fragments intermingled with Christopher Tolkien's editorial notes. These are kept to a minimum in some of the stories and essays, but in others are much more prevalent (something he apologises for, but regards as necessary in the case of works where his father was working on several drafts simultaneously, risking confusion to the reader). Christopher's notes are fascinating, well-written with a clear eye for detail and minimising confusion. He assumes the reader is already familiar with the Middle-earth mythos (since they're unlikely to be reading this book otherwise) and is able to delve into various topics in depth. Whilst he clearly loves and respects his father immensely, it is also amusing to detect the vague frustrations that creep into his notes, most notably when trying to fathom why Tolkien abandoned particular narratives at key points (feelings the reader may share as the book unfolds).

The first story is 'Of Tuor and His Coming to Gondolin'. The story of Tuor's arrival in Gondolin and the events leading to the fall of that city in the War of the Jewels was the first story Tolkien ever wrote set in Middle-earth, and is still one of his most memorable narratives. However, the version in Unfinished Tales was written much later, in 1951 (the much more complete original can be found in The History series), featuring a more conventional prose style than the archaic original. It's stirring, epic stuff, featuring some great imagery as Tuor is confronted by the Vala Ulmo, Lord of Waters, and has a great destiny laid before him. The story proceeds with power and momentum until it abruptly halts just as Tuor reaches Gondolin itself. Even with the earlier version available and a much more compressed account of events readable in The Silmarillion, this is still a frustrating moment.

The second story is 'The Tale of the Children of Hurin', a much longer story (almost a hundred pages, taking up a quarter of the book) featuring the adventures of the doomed, tragic Turin. Unlike the story of Tuor, this tale is more or less complete, though somewhat complex due to competing drafts and different versions existing. Many years later Christopher used this material (along with some other, later unearthed manuscripts) to form the basis of The Children of Hurin, so if you already have that book be aware that you will find much of this material familiar. But still, it's a powerful story, the darkest thing Tolkien wrote set in Middle-earth, featuring lust, incest (though unwitting), war and the 'hero' bringing death and ruin to all those around him.

The next section of the book moves into the Second Age of Middle-earth, which Tolkien left somewhat vague and under-developed compared to the First Age (covered in The Silmarillion) and the Third (the setting for The Hobbit and Lord of the Rings). We start off with 'A Description of the Island of Numenor'. For fans of worldbuilding, Tolkien's description of the island empire and the accompanying map will be fascinating. However, it's the following story, 'Aldarion and Erendis', which is more intriguing. It depicts the marriage of the noble lady Erendis to Aldarion, later King of Numenor, and touches on larger aspects (such as Aldarion's re-opening of relations between Numenor and the elves of Middle-earth), but for the most part it's a strong character piece. For those who claim Tolkien is overly-romantic, this account of a failing relationship due to outside pressures (Aldarion's lengthy absences from home) is surprisingly realistic. The story breaks off towards the end, although this is more of a relationship study than a tense narrative, so is less grievous a loss than some of the other texts in the book.

Tolkien follows this up with an account of the Kings of Numenor and the major events of their reigns. This is again primarily of interest to worldbuilders, but Tolkien manages to put in some great details and elements that could have been mined to produce further stories, but sadly it was not to be. This is then succeeded by an account of the history of Galadriel and Celeborn, something that Lord of the Rings fans will be more interested in, but frustratingly is also the most 'unfinished' of all the works in the book. Tolkien conceived of several competing, but radically different possibilities for the couple's backstory and reached no firm conclusions before his death, leaving several versions which are mutually contradictory. Christopher Tolkien suggests appreciating these contradictions as part of the literary effect of having a fictional history and mythology, which may be the best approach. Even in their differences, these versions reveal more fascinating information on Sauron's activities in the Second Age and characters briefly mentioned in Lord of the Rings, such as Celebrimbor, Nimrodel and Amroth.

The final sections of the book deals with the Third Age and consists mainly of finished essays and narratives, though in some cases with competing drafts which the editor takes pains to clarify. This section begins with an account of the Battle of the Gladden Fields (the engagement where Isildur lost the Ring), here revealed to be a much larger conflict than the brief skirmish suggested by Lord of the Rings and depicted as such in the films (by necessity, since Peter Jackson did not have the film rights to Unfinished Tales he could not use the account of the conflict here). He follows this up with the history of the Rohirrim, the development of the relationship between the Rohirrim and people of Gondor, and the founding of Rohan itself, again depicting worldbuilding information through a story (here the friendship of Steward Cirion of Gondor and Eorl, founder of Rohan).

This is followed by sections fleshing out The Lord of the Rings. 'The Quest of Erebor' explains how Gandalf came to join forces with Thorin and the dwarves and how he convinced them to recruit Bilbo Baggins to join their quest. This was actually a chapter from The Lord of the Rings, written as part of Tolkien's attempts to better-connect The Hobbit and the later work, but was wisely exorcised for killing the pace of the novel (it was supposed to be a discussion between Gandalf and Frodo between the victory over Sauron and the Scouring of the Shire, where it would have been ill-suited). However, as a stand-alone narrative it's a valuable - and enjoyable - asset in clarifying the relationship between the two books. This is followed up by 'The Hunt for the Ring', a detailed account of how the Ringwraiths set out in search of the Ring after losing track of Gollum (who had been captured by Aragorn). Though rather brief, this short piece does feature a memorable confrontation between Saruman and the Witch-King of Angmar. Rounding off this section is 'The Battles of the Fords of Isen', revealing in detail the battles fought by Rohan against Isengard on the Isen (alluded to but unseen in The Lord of the Rings). Again, it's not essential but does help flesh out a side-element of The Lord of the Rings.

Rounding off the book are three complete essays on three separate topics. The first expands on the Druedain or Woses, the wood-men who help the Rohirrim bypass Sauron's armies to reach the Pelennor Fields. Tolkien reveals in this essay that he was considering giving the Druedain a much bigger role in the backstory of Middle-earth, and even have them playing a role in The Silmarillion, but passed away before this idea could be fully fleshed-out. The second discusses the Istari, or the order of wizards that Gandalf, Radagast and Saruman belong to. We learn the names of the other two wizards who vanished into the east (Alatar and Pallando) and some interesting backstory emerges here. The third and final essay delves into the Palantiri, the magical seeing-stones which play a major role in The Lord of the Rings. This is atypical Tolkien, since normally he preferred to leave the magical elements of his world vague and mysterious, but here he delves into the capabilities of each palantir with the kind of magic system-building enthusiasm we now see with writers such as Brandon Sanderson.

Unfinished Tales (*****) is a fascinating book, representing a collection of writings by the most influential fantasist of all time extending over thirty years. Many of the individual stories and essays are excellent, certainly all are interesting and the only complaint that can be made is that several break off with no resolution. But then the book does tell you that on the cover, so it's hard to hold that against it. Unfinished Tales is available now, in numerous editions, in the UK and USA.

Shadowrise by Tad Williams

The Eddon family is divided and scattered. King Olin is a prisoner of the mad autarch of Xis, whilst Prince Barrick is lost beyond the Shadowline, searching for the fabled Qar capital. Far to the south, Princess Briony is a reluctant guest of the Syannese court. The Qar continue their siege of Shadowmarch, but Hendon Tolly is more interested in unearthing the ancient secrets of the castle than in resisting the invaders. That job falls to the Funderlings, who must mount a stalwart defence of the tunnels and passages below the castle.


Shadowrise is the third novel in the Shadowmarch series. Originally planned as a trilogy, the final book in the series grew too large to publish in one volume, so was split in half (though each half is almost as long as the first two books in the series by themselves). Williams has form on this, as this also happened with the paperback edition of the final volume of the Memory, Sorrow and Thorn series.

As with the first two books in the sequence, Shadowrise is well-written with some interesting characters. Williams has always had an enjoyable prose style, and that remains true here. Unfortunately, that can't quite overcome several problems. One is that the story unfolds with all the verve, vigour and energy of a particularly lazy sloth on sleeping pills. Chapters seem to endlessly pass which, whilst individually well-written, seem to consist of characters doing little but sitting around and talking about the plot, the backplot and what might happen next, often introducing little to no new information the reader needs to know.


Quite a few of Williams's characters are reactive, spending most of their time wringing their hands and agonising over what to do next. Notably it's those characters who actually make plans and enact them who carry the book, most notably Ferras Vansen and Chert the Funderling. Barrick's journey beyond the Shadowline has an unusual, weird tone to it that is rather different to the rest of the book and features some genuinely unsettling fantastical moments, but is undermined by Barrick's total lack of agency in the storyline. He has no idea about what's going on, neither does the reader, and this makes following that subplot rather tiresome. Worse still is Briony's storyline in Syan, in which it appears that Williams was setting up some rich court intrigue, realised halfway through he couldn't be bothered, and simply ejected Briony from that storyline rather abruptly. Whilst it's good to get this part of the story out of the way, it does render Briony's entire storyline in the last two books somewhat pointless. Also pointless is Qinnitan's subplot, which feels like makework as Williams tries to find something for her to do rather than simply getting her from Point A to Point B.

As the book continues, it starts to pick up some energy towards the end as important plot revelations take place and we actually get some energetic action sequences, rousing the narrative from its lengthy torpor. Naturally these are just in time for the inevitable cliffhanger ending into the final novel in the sequence, Shadowheart.

Shadowrise (***) is readable enough, but so long-winded that it's hard to muster the enthusiasm to carry on at times. Williams has just enough good ideas and interesting characters to make it worthwhile, but unfortunately this novel does little to dispel the impression that Shadowmarch is his weakest major work to date. The novel is available now in the UK and USA.