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Video-game players embrace the quest of a lifetime in a virtual world screenwriter Cline’s first novel is old wine in new bottles.

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Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.Ī tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S.

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Indeed, the novel does double duty as a survival manual, packed full of good advice-for instance, try not to get wounded, for “injury turns you from a giver to a taker.

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Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Nondescript entertainment, especially if you find the notion of yodeling Yodas appealing.Īre we not men? We are-well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).Ī zombie apocalypse is one thing. However, issues arise with singspeak: representing it in prose required obvious effort, and it rapidly grows tedious to read. The investigation that subsequently unfolds will prove cozily familiar and reasonably satisfying to fans of the duo-Foster, prolific both as a novelizer (Star Wars, Star Trek, Alien, Transformers, Terminator, etc., etc.) and author of stand-alone novels and series, capably turns out blandly pleasing potboilers, and this one assumes no previous knowledge of the series. Worse, his Larian contact, Wiegl, may or may not be trustworthy. Once on Largess, however, Flinx discovers his empathic abilities don’t work while the Larians singspeak only when they’re silent can he read their emotions. The Larians communicate by means of “singspeak,” a language that’s sung rather than spoken, which Flinx anticipates no difficulties in learning. Flinx and Pip, with their unique abilities, seem well-suited to locating and neutralizing the malefactor. An unscrupulous human, it emerges, has kidnapped the daughter of a Larian bigwig and is also distributing embargoed technology and weapons. The cool, damp planet Largess is home to “almost seal-like” alien Larians, whose backward technology and dangerously unstable politics prevent the Commonwealth from trading freely with them or offering full membership.

While they’re enjoying a well-earned extended vacation, an alien thranx from the Commonwealth shows up to request their assistance. Philip Lynx, the product of illegal eugenics experiments, has the ability to perceive and project emotions, as does Pip, his venomous flying-snake sidekick.

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Another adventure for empathic fix-it operatives Flinx and Pip, in a series that’s been appearing sporadically since 1972 (most recently Flinx Transcendent, 2009).