![]() ![]() ![]() The locked room murder meets a Michael Bay movie, by way of Treasure Island you can’t know what’s going on, if only because the author won’t let you know until he’s delivered the final surprise – and another one after that. Events approach at dizzying speeds and recede almost immediately into the distance, decaying into the fog of battle and shipwreck. This helps the author convey the emotional charge of each scene in a quick-and-dirty fashion. They’ll undergo heavy-gauge backstory additions to fit them for a reveal or for their next set of tasks and excitements our idea of the character as we already know them will conflict for a page or two with their new demeanour, then succumb as our sympathies tilt to accommodate. ![]() In the service of its high-speed, self-aware twists and turns, characters often talk as if they know they’re in a book, and are either nudging a forgetful reader or winking at a complicit one. ![]()
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