I thought I'd care more and it just never happened.

This follows the continuing adventures of Rincewind and Twoflower. Unfortunately I still can’t stand either one of them and the tone of the quips feels off. The pacing was better than THE COLOR OF MAGIC, but this one was a miss for me. 

THEY NEVER LEARN is a sapphic serial killer thriller about women getting control and taking revenge. 

The narrators alternate between an English professor getting ready for her yearly kill and a freshman who plans revenge after her friend is assaulted. Carly and Scarlett feel distinct at the start of the book and their chapters are very easy to tell apart. Early on I liked Carly better but by the end I was rooting for Scarlett and I'm very happy with how things turned out. If you liked (or wanted to like) DEXTER but wished it were sapphic, check this out. 

There's enough detail to make it very clear what the various perpetrators/murder victims did that got them on Scarlett's radar or drew Carly's ire, but without glorifying sexual violence or giving graphic details of abuse. Refer to the CWs for more information. 

FOR THE WOLF is a slow burn fantasy story full of magic and longing, built on wound care and vibing. Probably not a retelling in traditional sense, it has the bones of Beauty and the Beast, the flesh and sinew of something all its own, twisted and bloody but still whole. 

The plot is there, technically, but most of the action is them running around bleeding or not bleeding or asking the other one to bleed or not bleed on something so it can do or not do a magic thing. Also there's only one bed, and some gestures at a love triangle that resolves itself with very little fanfare. If you don't like wound care and longing then read something else, as that's (gloriously, intimately) the bulk of the text. There's a larger arc involving Red's twin sister which is set to continue in the next book, and it has a lot of promise. I like this one, it hits a niche I didn't realize I was missing. 

THE EMPIRE OF GOLD is a satisfying conclusion to the amazing Daevabad Trilogy, taking its time tying up everything and everyone with suitable endings, as much as is possible for conflicts that brewed for millennia. 

Dara's character arc is particularly good, but there's much to love for Nahri and Ali as well. The pacing is excellent, the characters’ motivations are coherent even as events become bloodier, and I’m very satisfied with the ending. It's everything I loved about the first two, but with more catharsis and resolution since it's the final book in the trilogy. The longer page count let the story take how long it needed, with space for things to play out at a wonderful pace. 

This wraps up a bunch of stuff left hanging from the previous book. There's a storyline that has most of its major elements here though it wasn't entirely new for this book. This is definitely a distinct phase of the larger story, with enough that's unique to it for it to stand out, but more than enough in common to be a great finale. The big things I can think of that get resolved here are working off of ground laid before, so nothing is wholly new but the way things are developed and complicated makes it feel fresh. As the last book, things are wrapped up very well. The characters get endings that are right for them and I like how things work out for Daevabad as a whole. A few things are left open, but it's the openness of possibility for the characters who made it to the end of the book. The main characters are the same and their narrative voices have stayed consistent, with some changes in how they think about certain events. This wouldn't make sense if someone started here and hadn't read the first books. There's enough story here that if someone persisted after the first few chapters they might have a good time, but a lot of what makes this so good is dependent on knowing what the characters and their city have been through, without that knowledge the resolutions wouldn't be as meaningful. If you're intrigued by book three, please go back to the beginning and read the whole trilogy. 

I loved this and I'm sad there isn't more, but there's plenty to linger over.

GUARDS! GUARDS! is about the City Watch, the folks who come running when someone else is in danger, but lately they've mostly run into their ale cups. Then someone summons a dragon...

I like the guards, and the dragon lady. The stuff about the swamp dragons was great! The villains were fine but underdeveloped. They mostly existed to make the large dragon appear. The main villain had a lot more development and many complex thoughts about what he was doing and why/how, but since it's mostly him monologuing in his thoughts it felt flat in places. 

I'm getting tired of this air where everyone but the main character knows what sex is and how it works. It's been in the other Discworld books I've read until this point, and in GUARDS! GUARDS! in particular the density of sly references to the idea of sex felt so high that it crosses over from "joke that older readers will get" to "joke that younger readers won't get but will probably notice that there's something they're not getting". The series isn't specifically aimed at kids, thought it would be fine for teen readers, so it's not inappropriate, really, just tiresome. 
A good start to the City Watch sub-series, worth reading if you're trying to read a bunch of the series, but not spectacular on its own. It's clearly setting up something with Carrot to pay off in a later book, so it's important for that arc.

If the synopsis or the phrase "mech battles powered by polyamory to fight a misogynistic death harem" intrigues you then you should go read this book as soon as you can. I love the whole thing, from the world to the plot to the characters, this is amazing on its own and I’m really excited for more. It's well-paced, brilliantly written, and just a damn good story.

The setting is vibrant, I love the main characters and the interplay between them. The slow burn between the three main characters is subtle but unmistakable, they have different dynamics between each pairing and it just fits so well. I appreciate that Zetian never loses her laser focus on what matters: burning this misogynist system down. 

Zetian has bound feet and it matters to the narrative, affecting the way she moves through the world, literally, as well as being one more way that her society has oppressed her for her gender. Sometimes she walks, though according to her the last time "walk" was appropriate to describe her motion was right before her feet were broken and bound, the verb she uses is "totter". She's occasionally carried or in a wheelchair, but more often she has a cane. There's a consistent awareness of her mobility or lack of it and how that affects her daily existence. Piloting a mecha is the only time she's awake and not in pain from her feet, but it's also not positioned as a permanent solution. It's thematically appropriate, explored throughout the text in a nuanced way, and makes her one of very few protagonists I can think of who begin their story with a mobility issue but no plotline about a cure of any kind. 

I loved this and I wish the sequel were available immediately.

Most of this was fun and I had a good time, but there were too many random moments that took me out of the narrative with an off-putting comment that didn’t fit the rest of the story. Usually this took the place of treating the mention of someone’s fatness or the idea that they might be insane as if the observation of it was the whole joke. These moments were especially frustrating because so much of the rest of the humor is great. It’s paced well, the dynamic between DEATH and Mort was strange but interesting, and I liked the ending. 

RING SHOUT is a tense and adventurous novella set in 1915 with the Klan as monstrous racists and Ku Kluxes as interdimensional monsters spreading like a disease among them, fought by a close-knit Black resistance.

This adds a supernatural angle to real events in a way that heightens the stakes but doesn't excuse the actual historical violence. The Ku Kluxes are there because of the racism and hatred which the Klan already has, and this works so well in the narrative. Maryse is a fantastic protagonist, the resistance are a great group, and I especially enjoyed Dr. Bisset. 

I wasn't expecting aftercare in a story this short but this wraps up things really well in terms of the emotional arc, with a satisfying resolution on other fronts. There's tiny moment that makes me think this could support a sequel in the same world, so if that materializes I'm very interested.

AILUROS is sci-fi in an experimental format, about exploring two kinds of wreckage and figuring out how to deal with the monsters found within. 

This book has an unusual format where the right-side pages form one story about the salvage of Ailuros Unit 23 and the left-side pages are an intertwined but distinct story about Josh and Alex’s relationship which contextualizes the right side/Ailuros story. I read the right side all the way through before going back and reading the left.

The tale of Ailuros Unit 23 is one of a salvage gone wrong and the analysis of the aftermath. It’s fast-paced, scary in places, and pretty deep for what is basically a novella within the larger novel. There’s time to get to know a few characters very well and others at least a little before the salvage goes awry. If this were the whole story I’d recommend it to anyone who likes sci-fi with horror elements. 

The left side (Josh/Alex relationship) is a mix of self-reflection, observation of the right-side story, and psychoanalysis by another party. It builds more of what is probably the actual setting outside of the simulation, but focuses on what Alex thinks about what Josh’s side of the simulation. Its pacing is altered by whether it’s read on its own after reading the right side or if it’s read as parallel text during one reading of the book as a whole. 

The combination of both sides of the book creates a complex but very understandable narrative about a relationship which is in its end stages after a sudden shock, and the drastic but futile efforts attempted as one of them tries to understand what happened. As experimental fiction, I can say this definitely worked for me. The place where this excels is the world-building, in both halves. The layers of framing are complicated enough to build immersion without making it hard to follow. I wasn't great at tracking what the left side claimed various right side characters were meant to represent, but it's said clearly and seemed consistent. 

The very last bit on the left, which fills the function of an epilogue layered outside of both narratives, is fantastic. It makes me want to re-read the whole thing with the final revelation in my mind. It's the best kind of last-minute reveal, one which contextualizes the earlier information without contradicting it.