“Space Station ICE-3” by Bruce Coville

In revisiting old reads, I picked up this sci fi tween mystery (the protagonist is sixteen, so I’d call it YA…except that it’s much closer to a Hardy Boys than a Hunger Games).

Young Rusty has discovered a dead body in the disposal vat on the colony space station…but no one believes him except his earth-bound grandpa, and his grandpa’s “old friend” – the legendary genius scientist who basically invented most of the space station.

Dead bodies…space…check, check. I enjoyed it as a tween/teen, and I enjoyed it now…though I also noticed more of the author’s secular, exploratory worldview peeking through.

Rusty: Teen, Researcher, Detective…Talking Point

The first thing that struck me about our teen protagonist is something I missed when I was a teen myself.

The voice is masterfully done – actually sounding like a real sixteen-year-old might – and the first-person perspective acts like he’s recording these events for posterity.

Thus, when Rusty opens his book by describing the colony space station he lives in floating about the Earth, he notes as an aside:

I realize we all know these things, but my grandfather [an author] “keeps reminding me that just because we all know something now, it doesn’t mean people will know it ten years from now. He says I should never underestimate the human capacity for ignorance, and if I want people to read this book ten years from now, I’d better make everything clear.”

Cute way of introducing us into this world while still maintaining a realistic perspective for the characters in the world.

But…did you pick up on what I picked up on?

There’s a slight condescension, the hint of a “some people are just so ignorant” – and this permeates the whole story.

This fits right in with the thesis of the story.

After reading the story with an adult perspective, the “message” of this little novel could well be phrased as: “Smart people should be allowed to ask any questions/study any problem they want to.”

All fine and good, as far as it goes…but how far does it go? And besides that, Rusty repeatedly complains about stuffy gate-keepers, thick-headed authority figures…basically anyone standing in the way of Science! because of foolish misgivings.

Interesting for a “scientific researcher” to be so dismissive of other viewpoints…

(I’m also never a fan of the “adults don’t take me seriously!” trope.)

Aside from that…

Rusty is a great protagonist. He has normal, understandable faults – that actually tie in to the plot. He sees problems, and digs around for a solution. If someone is in trouble, he races to help (against the better judgement of people who have that).

One of the biggest elements in my original read was his soft romance with a girl he meets in the course of his adventures. Now – as then – I appreciate how it’s crafted realistically (an awkward yet hormonal boy wants a suspicious yet intelligent girl his own age to like him)…while also not pushing it beyond where the plot could take it (they do run off in the middle of the night to do investigating by themselves, but in the last chapter they’re about to have only their first date).

The first-person record is also handled expertly, with little asides from time to time as Rusty explains things we need to understand this part of the story, or reminds us that he wasn’t thinking clearly in the stress of the situation, so don’t be too hard on him.

Mystery and Smarts

Part of the difficulty with writing – especially writing mysteries – is making your characters look smart, not just claim to be smart.

For having so many PhDs in the story – and placing so much of the action on a floating research lab – the author does a pretty good job of painting a picture of actual scientists doing actual research (test tubes, microscopes, computer banks, literal lab mice).

This goes for the characters, too.

The legendary reclusive genius – who helps Rusty investigate the disappearing body in the disposal vat – is introduced to us with an ego the size of the moon…and the smarts to match.

After telling us this, however, the author then goes on to show this character making logical deductions, extrapolating from incomplete data, and doing other mental detective work. With just the right amount of detail, we can watch the genius being a genius without needing a Robert-Ludlum-sized conspiracy to unravel.

As for the actual murder…

I can’t say too much without getting into spoilers and a discussion of the Science! theme…

But I can say the villain’s motive isn’t super strong or clear.

Most of the side characters are fleshed out enough for their roles – and some of them border on the complex – but while the villain has touches of nuance, they don’t have enough screen-time to really explore why they do what they do.

On the other hand, they aren’t laughably “evil for the sake of evil,” nor a “twist villain for the sake of shocking the audience.” The clues that lead to the mastermind are subtle, but there…especially on this re-read.

Except for one forehead-slapping incident, the teen-detectives in the book act pretty smart.

Sure, they run off in the middle of the night to do investigating, but when they get in trouble they at least try to call for help. (They apparently don’t remember that doors open from either side, though.)

I have a couple other quibbles (especially about the “twist”), but I don’t need to go into them here.

Everything Comes Down to Science!

The author clearly had fun building his dream colony, where everything is recycled down to the last atom (except human bodies, which get sentimental burials-in-space), every occupant pulls their weight (whether in scientific research, supporting the running of the station, or both), and everyone has been background- and personality-checked for maximum harmony.

A big thing in the beginning of the book is that the station has no police force – just the entirely different “Office of Dispute Management” – so Rusty doesn’t know who to report a murder to.

And yet, for all that the colonists were screened to avoid “explosive personality combinations” (yes, really) and live in a rational, scientific paradise…Rusty still gets in heated arguments with his parents. Some individuals are still skirting the rules – and willing to commit violence to cover it up.

For all their advanced technology and scientific exploration, the characters still yell at each other, make mistakes, and have all the real, human problems people have always had.

I’d call this deliberate…except for the novel’s thesis.

I think the author was just too good. He knew what human beings were like, and so wrote them with all the flaws and weaknesses we have in real life.

Meanwhile, his intellectual, humanist worldview insists that humans can improve ourselves, screen out “explosive personality combinations” (unless a couple has a kid they’re not compatible with…), and push the boundaries of the physical – and moral – world.

Rusty closes out his little book by insisting scientists should be allowed to “follow any question,” no matter where it leads.

Even after watching one scientist use gene-splicing to accidentally create a deadly rage virus…realizing there’s a black market for scientific discoveries – and genius scientists…

Even after seeing all the ways this could go wrong, Rusty still thinks that “repressing” the scientific mind only encourages more risky behavior in the pursuit of the answers.

Are people more likely to create human clones if you tell them it’s too morally risky to do so? Will some people just gene-splice, no matter what you say, so you might as well let them gene-splice “safely” – in the open?

In some ways, these are two different questions:

Should Bureaucracy A dictate what Scientist B does in his lab?

If they’re paying for it, absolutely. Otherwise, my libertarian side says, “No way.”

But – Are there some things that shouldn’t be explored? Some questions that shouldn’t be answered?

Are clones human? Or replacement-organs-on-demand? If we can protect some babies from some disease by altering their genes, does that give us the right to change their actual DNA – theirs, and that of any kids they might have…through all time?

My Christian, trans-temporal worldview tells me, “No. Some things should not be grasped. Some answers should not be given.”

God has put a lot of things into the creation to help us and heal us…but we shouldn’t pursue those things beyond their proper place. Whether we’re chasing Science! because we want to see new things, or because we want to cheat death and suffering, we must be pursuing Jesus first and foremost.

Imagine if Adam had been content with not being God.

Find Answers for Yourself

This little novel is about as squeaky-clean as they come. There’s some light descriptions of death and decay, and some even lighter description of Rusty’s adolescent crush on the girl.

The science is solid – but not heavy enough to scare off non-nerds.

Really, the most problematic thing about it is the worldview…and we should be discussing that with our kids about every book we read.

So – whether you’re a Christian homeschool teen looking for something fun (that you won’t be embarrassed to read)…or you’re a parent looking to keep your voracious reader busy with things that will feed his brain…this is a solid story with decent characters, a mystery that will engage the brain, a dash of outer space – and enough questions about the morality of Science! that will keep the whole family talking at the dinner table!


Space Station ICE-3 is available on Amazon, eBay, and Albris (though they don’t have an image or description, just the metadata). Finding old, discontinued books is hard, apparently! Here is its Goodreads page.

You can also find out more about the author at his Amazon Author Page and on his official site: BruceCoville.com.

“The Sunday Philosophy Club” by Alexander McCall Smith

"The Sunday Philosophy Club" by Alexander McCall Smith The back cover copy introduces us to Isabel Dalhousie: middle-aged spinster who’s “too inquisitive”…and when she witnesses a young man fall to his death from the balcony of the concert hall, she wonders if there’s more to it?!

Then we open the book, and…turns out she’s actually a fourteen-year-old with ADHD…and has the detective method of a spring-addled squirrel.

Harsh? Let me elaborate on The Sunday Philosophy Club…which, incidentally, features no over-arching philosophy, no club whatsoever, and about as much detective content as those gummy vitamins contain sugar. Continue reading

SHADOW Now Up for Preorder!

Yes, Transmutation of Shadow – my action-packed story of government intrigue, sci-fi mental abilities, and the assassin-turned-fugitive trying to uncover the truth – is now finalized!

You can order the paperback right away – or preorder the ebook from your favorite retailer! (Amazon doesn’t have preorders available for paperbacks.)

It launches on MY BIRTHDAY April 27, 2020 (I’m turning 27, so it’s my “golden birthday”).

More good news: if you do preorder, you can message me with your order code and/or which retailer you used, and I’ll send you a collection of deleted scenes and alternate endings! (I’m thinking of them like “alternate time-line” versions of how the story went!)

SmashwordsAmazon KindleKoboBarns & NobleOverdrive

A super-soldier assassin. Wrongful deaths. An agency cover-up that endangers a child.

Eric is the best. (Okay, maybe not the best, but one of the best.) He can walk invisibly through a crowd, scale buildings, become anyone. He kills his country’s enemies with precision and without hesitation.

But there’s another side to that coin – accuracy. And some of his computer-fed, handler-approved, briefing-verified victims weren’t on The List.

(Well, obviously they were on someone’s List…just not the right list.)

When Eric finds his own Agency targeting him, he determines to uncover the truth for himself…no matter where it leads. No matter what the cost.

Even if it makes him the bad guy.

As exciting as The Matrix, as adorable as One-Punch Man, Transmutation of Shadow is the pulse-pounding, heart-touching adventure you’ve been waiting for!

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“The Lonely Detective Solves ‘Murder at Snow White'” by Charles Schwarz

"The Lonely Detective Solves 'Murder at Snow White'" by Charles Schwarz — Kimia Wood Lord Peter Wimsey, in one of Dorothy Sayers’ novels, calls detective fiction the “highest form of literature we have.” The essence of detective fiction is the conflict of good and evil…the idea that a crime (a murder) breaks the world, and the core of a hero is in solving it (bringing the evildoer to justice).

Thus it’s hardly surprising that Ms. Sayers is one of, if not the, best mystery writers of all time. Her novels are entertaining yet educational, tricky yet profound – grounded on a firm grasp of human nature, and grappling with how the very universe groans for the blood of the innocent to be repaid.

I’m not here to talk about her work. I’m here to talk about the short stories of Charles Schwarz – stories billed as “hilarious” and sarcastic murder mysteries…that probably ended up being more educational than entertaining for me.

(Incidentally, what first caught my eye was the cover. Something about it just looks sarcastic – and who doesn’t love that?)

Alert: SPOILERS Possible Continue reading

“Dracula” by Bram Stoker

"Dracula" by Bram Stoker — Kimia Wood “Dracula” is known as the original vampire, and the word evokes a cornucopia of images and lore.

But what is the original actually like?

Published in 1897, this Victorian classic delivers a compelling story of horror and love, featuring one of the most spine-chilling monsters of all time.

The Style

As Red from “Trope Talk” will tell you, part of the magic of the story is the style. It opens with the diary of Jonathan Harker, a newly minted lawyer traveling to Transylvania for business with a mysterious count.

This first act is admirably effective, as Jonathan progresses from describing the lovely scenery, to relating the curious superstitions of the townspeople, to his nerve-wracking first meeting with the count on a midnight mountain road.

The first-person immediacy of the narrative lets us feel Jonathan’s plight even more strongly as he realizes his imprisonment in the count’s vast but empty castle – and the diary form allows a mix of “this happened in the past” and “this is what I’m going through now or hope to accomplish” that forces the reader to engage with his harrowing experience on a moment-to-moment basis.

Fade to Black, Scene Transition…

We leave Jonathan’s diary on a cliff-hanger to read the letters between his fiancé Mina and her best friend Lucy. Mina, of course, is looking forward to her marriage to Jonathan (and concerned that his trip to the continent is taking longer than anticipated), while Lucy is flattered (yet also embarrassed) to have been proposed to by three charming young men in one afternoon (Number Three being her own heartthrob…and, once she accepts his offer, her fiancé).

Seem like a tone shift? It is in many ways, but the shift from Dark Gothic to Sweet Romance makes the transition back again that much more heart-wrenching. The girls’ perfect happiness (and their idyllic vacation at the seaside) cannot last…and when Count Dracula makes his grand entrance in England, the creeping sense of foreboding is that much more acute because of the shift in narrator and perspective.

Self Awareness

This sense of hearing the story from the eyewitnesses, with newspaper clippings and telegrams and hastily jotted notes written in trains and carriages, actually enters the story when the party is assembling the data they have on Count Dracula (the better to fight him) and uses the diaries and notes of their company to assemble a dossier of evidence.

I think this is a cute acknowledgement of the writing style…and after all, how would I be reading the private journal of a vampire-eyewitness unless someone compiled it for the benefit of posterity?

Patriarchal Romance

One of the things I adore about this book is that every single person is an adult. Maybe not all of them are super bright – after all, they fall for the stupidity of not sharing everything they know because “it’s too terrible for you to know, dear!” allowing Dracula to victimize one of them.

But I love how the romance is tasteful, self-sacrificial, and mature. Lucy’s three suitors all donate blood to her during her “mysterious” sickness where she abruptly loses most of her body’s blood during the night (when the window is left open…ahem). The two unlucky suitors hold no ill will toward the favored Number Three (and future Mr. Lucy), but rather do all in their power to assure her – and his – happiness.

Jonathan and Mina are pathetically in love with each other – to the point that they practice the old “withholding information for the other’s good” trope. On the other hand, the plot forces them back to full disclosure and honesty with each other, at which point they tell each other everything (with plenty of tears and declarations of love).

“I’ll never tell you about Transylvania unless I have to – it would be too horrible for you, dear!”

“I’ll never ask you about Transylvania unless I have to – I never want you to relive that horror, darling!”

Guess what becomes necessary?

Guy Power

What do I mean by “patriarchal” romance?

I mean the boys all rally for the protection of their women-folk and get their evil-fighting heroics on for the sake of those in need! This is not about “getting some,” since both girls are already committed to relationships – the two unlucky suitors, and Dr. van Helsing (see below), and the girls’ chosen protectors all band together to defeat the monster because monsters done need defeatin’, and they want to spare their beloved ladies as much pain (mental, emotional, and physical) as possible.

This is called “sacrificing your own needs for the needs of others” and it’s what Real Manhood is all about and I love it.

Girl Power

The counterpart of this is that it high-lights the specific strengths of our female protagonists.

Mina, for instance, has been studying shorthand (the better to assist her husband in his lawyering) and so she keeps a journal of all her experiences on vacation with Lucy. This comes in very handy when they need to piece together what exactly is going on – which she does along with Dr. van Helsing (see below).

Maybe she can’t race about the country on steamships and horses, and maybe she can’t physically counter Count Dracula herself, but her organization skills, logical deduction, and cool-headed smarts are a vital addition to the team. This highlights the particular strengths of women – without trying to cram the gals into black leather and force them to compete on the men’s playing field (which wasn’t really a thing in the 19th century, thank goodness).

Celebrating Female Innocence

Lucy’s strength of character is her sweetness and charm. Sure, she’s got three men (and counting) in love with her – but it’s her innocence and purity, not just her physical beauty, that attract them. In fact, far from wanting her as an object or plaything, they all desire her well-fare even more than they desire their own happiness.

Contrast this with the female vampires, who use their sex appeal and “voluptuousness” as a snare to lure their victims in. When Jonathan is almost caught by them, it’s unclear how much of his fascination is animal attraction and how much is out-right vampiric mind control!

As opposed to Lucy, whose modesty, kindness, and friendship make beauty a facet of her personality, the vampire female uses her womanly attributes as a weapon to get the blood she thirsts for…revealing her to be no different than the monstrous Dracula.

Dr. van Helsing

The most awesome character is Dr. van Helsing, a Dutch psychologist and physician with an adorable German accent who is called in when Lucy starts exhibiting her “mysterious” anemic illness.

While the doctor is sweet, gentle, conciliatory, and good-natured, he’s also the only person who realizes what’s happening – and promptly starts strewing garlic flowers everywhere and blanketing the place with gold crucifixes.

While even he is hampered by the trope of “don’t tell her mother what’s really going on lest we shock her into cardiac arrest,” let me just say I adore it when sweet old guys are the ones who know everything.

Maybe he can’t rush around on horseback armed to the teeth like the youngsters can, but he can Barney-Collier with some holy wafer like nobody’s business…and he’s got the spiritual and legend-savvy expertise the team needs to vanquish this embodiment of evil.

The Villain

Speaking of the villain, the book does an excellent job keeping him shadowy and menacing…with just enough hints to remind us of his evilness without overdoing it.

I was surprised that we didn’t get an explanation for how he became this way, or why he chose to be a cursed undead horror…but then again, maybe he didn’t choose it, but was cursed by a bite just as he cursed those he bit.

The powers of the vampires in this incarnation are clearly evil, from hypnotism and mind control to regaining youth and vitality from the blood of their victims (especially children – they love to eat small children).

While Dracula can control rats, flies, wolves, and bats – and transform himself into various forms – he is also constrained by specific rules that keep him from being omnipotent…and make him defeatable (for example, he can only cross water at the tides, can only transform at dawn, noon, and dusk, and must return to a box of holy earth to recover his abilities).

Spiritual Themes

An important theme in the book is that these undead are cut off from God. When their friend is raised as a vampire, the team must kill the creature not only for the sake of the other victims – but for the sake of its own soul.

Yes – the horror of being sucked on by a vampire goes beyond merely losing your blood…goes beyond being locked to your vampire-dad in a disgusting pact of mind-linking…even goes beyond rising after your death to restlessly roam the earth and inflict this curse on others, including your own loved ones.

The horror of the vampire even extends to being cut off from the God who made you, and banished from the presence of the Christ who died for you. (Yes, the book explicitly states the basics of the gospel, which is pretty cool.)

While the theology of this skirts dangerously close to the Muslim belief that something someone else does (even after your death) can affect your salvation, the way the characters repeatedly throw themselves on the providence of God (explicitly and specifically) and trust God to bring them through this harrowing experience is inspiring and thrilling. It brings the whole story to a deeper level.

And it also makes the catharsis that much sweeter for the vampires that are staked, beheaded, and stuffed with holy wafers. The hunters describe expressions of peace and release on the cursed ones’ faces before they crumble into dust…the dust their bodies should have been long ago, but for this horrible curse.

As truly repulsive as Bram Stoker makes his vampires – eating small children and gorging themselves with blood – he also makes killing them a mercy…and inspires pity for these wretched, darkened creatures who are cut off from the source of Life and the purpose of their existence: their own Creator.

And after all, your neighbors might not be ravenous, undead monsters…but they’re probably lost and cut off from God, and we should pity them and seek to set them free. Not with a stake and kukri knife, but with the Gospel of Jesus and the Sword of the Spirit (which is the Word of God).

Whoo! Now I’m getting chills.

Classic for a Reason

Yes, there are parts of the book that are obviously products of its Victorian time period…but at the same time, the slower-paced parts and the lighter tone help to contrast and intensify the skin-crawling horror of the darkness and mystery (there are parts that get a chuckle-out-loud!).

Enough with the sexy vampires! Let’s go back to the source, and experience the explicit themes of light versus darkness, good versus evil, kindness versus cruelty, sacrifice versus selfishness, that made this book something that deserves to endure.


July 2 – July 23

Bram Stoker’s Dracula is available as a FREE ebook from Project Gutenberg, or from Amazon (paperback or Kindle), Barnes&Noble, Kobo (ebook or audiobook), and the Book Depository (free worldwide shipping).

Join Kimia Wood’s mailing list for a FREE e-copy of her post-apocalyptic adventure novella Soldier! You’ll also receive periodic updates on her latest reading and writing adventures.

“And Then There Were None” by Agatha Christie

"And Then There Were None" by Agatha Christie — Kimia Wood Ten strangers lured to an island. A phonograph accuses them each of murder. One by one, they start dying.

Who will be left standing? And just who is the murderer?!

As the author’s note explains, Agatha Christie wrote this because it would be hard…and she certainly pulls off a spine-chilling whodunit stuffed with questions about morality and “the perfect murder.”

Characters and Voice

Ten characters. Ten unique personalities and voices?

Yes and no. A couple of the characters die off so soon we don’t really get to spend much time with them, although they do get painted in general strokes.

Mrs. Christie breaks all kinds of writerly rules – but hey, she’s Agatha Christie! Whether she’s writing from the perspectives of most of the different characters, or using stereotypical short-hand to quickly clue us in to the character types at the story’s start, she goes against what your author “guru” on the internet probably told you to do…but still weaves an edge-of-your-seat thriller.

We are introduced to all the characters at the start of the book. Thus, we have a working knowledge of each of them and what makes them tick before they start dropping like flies.

But each and every one of them has a deep, dark secret hidden in there, too – from the young governess-turned-schoolteacher to the soldier-of-fortune, from the ex-policeman to the star surgeon with a drunk past.

As more secrets unravel step by agonizing step, we begin wondering if we can root for any of these people…and yet we can’t help rooting for them after “riding in their head” through this harrowing adventure. (That’s part of Mrs. Christie’s theme – more on that later.)

Suspense

I’ve been struggling to read over the past few months, but I finished this little classic in just a few days. To be frank, I should have put it down earlier in the day, because that night I tossed and turned with half-dreams of these characters I had bonded with facing mysterious death.

With zero gore and very little detail of the actual act of dying, or the dead bodies, Mrs. Christie still paints a picture of horror and encroaching dread where the characters question their grip on sanity.

I ask you, can any modern torture-porn horror author claim to have written something as chilling yet lasting as And Then There Were None?

The Onion of Mystery

Unlike a Robert Ludlum spy book, there’s no deep conspiracy here (which is what I’ve meant by “onion” in the past) but there is a “mad” killer on the loose on this rocky, isolated island.

Who is the killer? Which of the men and women in this lonely house could be capable of this elaborate, even artistic death-trap?

Mrs. Christie admitted it was hard to write, but she pulls it off. I didn’t guess the killer at all (partly because I was hamstrung by a Get Smart episode with a false assumption), but once it’s revealed it makes sense.

And that is the mark of a great mystery writer: to string the audience along until the big reveal, then have them cock their heads and nod and say, “Oh, yes, I see how that makes sense, now.”

Justice and Murder

This book bears a very similar theme to Murder on the Orient Express. There, the victim was a well-known gangster and murderer. Here, all ten of the characters are accused of murder.

And yet, the law can’t touch them. One man ran over some kids while speeding…another kicked a pregnant girl out of her boarding house, and the girl committed suicide (understandable given the culture of the time).

Thus, the Big Bad assumes he/she’s justified in killing these people because they are “murderers” beyond the reach of the law.

And yet…is he/she really right to take the law into his/her own hands even though the others are supposedly “guilty”? (And without a true trial, can we be sure that they are guilty?)

The answer of the Bible is manifestly: no! The king is appointed to punish the wrongdoers (Rom. 13:3-4), and we are not to stand on our rights (Phil. 2:5-8) or take matters into our own hands (Rom. 12:17-20).

But a person determined to construct the “perfect crime” is understandably not concerned with Biblical morality. The whole situation is orchestrated to baffle the police and gratify the perpetrator (and vicariously the readers, who will devour this safely contained horror of a puzzle box).

I realize I can’t say more without giving spoilers, but I was intrigued to realize Mrs. Christie has explored these themes on two different occasions…especially as I had connected it with a more “modern” trend in detective fiction of adding grey to both detective and criminal, thus rendering the contrast less black-and-white.

But I guess trying to validate the evil-doer is nothing new.

Gather the Survivors for the Revelation of the Culprit!

Agatha Christie is the culprit. She wrote this.

I was the victim. I fell under the spell of this book, and thoroughly enjoyed every spine-chilling, stomach-twisting moment.

You are the detective. Read this book, and see if you can figure out who the murderer is…before it’s too late!


And Then There Were None is available on Amazon (Kindle, paperback, hardback, or audiobook), Barnes&Noble (paperback, hardback, Nook, and audiobook), Kobo (also offers audiobook), and the Book Depository (free worldwide shipping).

Subscribe to Kimia Wood’s mailing list for a FREE e-copy of her post-apocalyptic adventure novella Soldier! You’ll also receive periodic updates on her latest reading and writing adventures!

“Transmutation of Shadow” Chapter 1

"Transmutation of Shadow" Chapter 1 — Kimia WoodCheck out the first chapter of my upcoming action-adventure Transmutation of Shadow! Meet Eric Kedzierski, psionic human and assassin extraordinaire…and, yes, his last name is very “long, ugly, and Polish” (his words).

Subscribe to the mailing list to be alerted as soon as it’s ready for publishing! (We’re currently waiting on beta reader feedback…)

It’s now available for preorder! Find at your favorite retailer…or get the paperback now!


Business As Usual

In which I kill somebody.

I eyed the two-lane country road, twenty yards below me.

“Target is four minutes out,” came Oscar’s voice through the plug in my ear.

“Roger,” I said, low toned.

Combat mics are designed to pick up soft voices. Of course, I was the only human being in about two miles of the spot. I’d made sure of that when I first arrived.

I double-checked my handiwork on the tree. It was already dead, leaning slightly toward the incline and the road. A storm had recently passed through, as the lightening-scorched poplar a hundred feet to my right showed, so the set-up was more believable.

I had weakened the base of the dead tree with a focused energy lance, and now all it would need was a concentrated mental shove. The age of the tree, and the lightening in the area, would both discourage anyone from analyzing for psionic scorches.

“Target three minutes out,” said Oscar.

I knelt at the base of my tree, the better to see the road through a gap in the foliage. My form-hugging combat suit protected my knees from the damp grass.

“Any word on the escort?” I asked.

“Armored SUV, three bodyguards, one driver,” said Oscar, from the data pulled up on his computer screen in the command center at Langley. “Chase vehicle about eight minutes behind, looks like, so you’ll have to hustle.”

I nodded to myself. The branches I had tossed onto the curve of the road fifty yards away would look like storm debris, and would make the car slow down.

“Three bodyguards,” I muttered. “Oil sheiks are paranoid, huh?”

“I think anybody who makes it onto our list is paranoid,” Oscar answered. “After all, it’s not just the United States he’s ticked off over the years. I’m sure there are some rival oil kings who’ve lost minions or trade deals to him. Maybe he’s responsible for that ambassador we lost in the Middle East. I don’t know; they don’t tell me these things.”

I adjusted my goggles, switching to thermal vision to make sure no stray cars were coming. The last thing I needed at the moment was a civilian blundering in to the set-up.

“Not my problem. I don’t make the big decisions,” I said.

My handler of many years said nothing. It’d been a standing inside joke between us: we don’t get paid enough to decide who should die. That’s for the bureaucrats who run the Agency to do. Got a complaint? Go talk to Congress.

Car engine. With a directed psionic ping, I received feedback in one of my goggles for movement telemetry.

Sure enough, they were moving around the corner. They slowed at the tree branches, and lumbered carefully around the curve.

“American car,” I whispered to Oscar.

“Huh?”

“It’s a GMC. Are you sure –?”

“Look, the spooks have been tracking them for weeks. Yes, it’s the right car. Go for it!”

The SUV cautiously picked up speed. The driver was being careful, given the hilly terrain.

Digital overlays in my goggles gave me the timing. With all the technology, this job was hardly a challenge —

I lanced the tree, giving it an energized shove with my hand for good measure. The tree crashed into the road, and the SUV plowed into it, squealing as the driver tried to apply the brakes.

As I sprinted down the hill from my hiding place, I was already feeling out the lock. Very standard stuff…I mean, couldn’t a corrupt Arab tyrant invest in a little more complicated door lock?

At the touch of my finger, an electrical pulse overrode the car’s computer, and I yanked the rear door open.

My other hand cracked the top on the vial, and nonlethal gas blew into the car. My glance flitted between the unconscious faces

“Target ID?” I hissed, checking with another psionic pulse that every heart was beating.

“Guy in the middle. Chase car is picking up speed; hurry.”

“Did you do a biometric –”

“It’s the guy in the middle, Shadow! I know my job.”

Holding my breath, I leaned into the car and un-clicked his seat belt. Touching – Ruthless Oil Despot was imitating American culture, with a very nice tailored suit.

With an energized heave, I flung him through the windshield. A psionic pulse, and my Heads Up Display flashed a confirmed death.

I relocked the door and sprinted back up the hill. There was nothing left to do. The tree left no traces. The car lock was un-breached.

And there were no collateral deaths.

“All right, Shadow. HUD says we’ve got a confirmed target elimination.”

I started the hike back to my car, pulled off the road and hidden on the other side of the hill. As I forged deeper into the trees, I heard the chase car’s engine purring around the corner.

“I guess the Middle East will be safer, now,” I said. “Though I can’t help wondering that they’d stage his death on American soil.”

Oscar said nothing for a moment. “Politics isn’t my game,” he said at last. “Especially foreign politics. It’s not our problem.”

Again, I nodded to myself, raising my goggles to see the variegated greenery around me unobstructed. A chipmunk popped its head out of a fallen log, stared at me, and ducked back in again.

With thermal vision, I’d be able to see his heat signature. But what would be the fun of that?

Besides, sometimes chipmunks and I both had to hide.


"Transmutation of Shadow" Chapter 1 — Kimia WoodKimia Wood was raised by an aspiring author, so spinning words and weaving plots is in her blood.

She currently lives with her family somewhere in the American midwest, bracing for the collapse of society by knitting, baking, writing, hobby-farming, and reading as much Twitter as possible before the web goes dark.

Subscribe to the mailing list for a FREE e-copy of her post-apocalyptic adventure novella, Soldier! You’ll also receive periodic updates on her latest reading and writing exploits!

“Shadow”—A Christian Jason Bourne?

What makes my written work stand out from others in the genre?

"Shadow"—A Christian Jason Bourne? — Kimia Wood

Image credit: imdb.com

Ha ha! That implies that I’ve actually read books in my genre…or that I know what genre I’m writing in…

But seriously, my latest work (Transmutation of Shadow) is an action-packed secret agent mystery…sort of in the vein of Robert Ludlum’s The Bourne Identity…or the movie The Matrix (no, really, a beta reader said it reminded him of The Matrix…yas!)

And yet it’s different. How is it different? How have I made this genre my own? If you love running-and-gunning spies, but also want to train your palate with clean, uplifting books, read on:

Action and Adventure

Books in this genre are usually full of fight scenes and dramatic chases…and Shadow is no exception!

A quick pace follows our hero through the pages, as he hides under the radar, running from people he used to call friends. I’m no Tom Clancy, but I managed to slip in some cool spy maneuvers (like switching clothes and cars repeatedly!).

How is my writing different?

Mr. Ludlum’s fight scenes can be a little…bone-jarring. While I don’t try to gloss over the bloody realism of combat, I also don’t dwell on it. My story doesn’t need it. In the words of one critiquer, I handle everything from death to violence with “grace and elegance”.

Let’s face it: my main character is an assassin. His government pays him to “eliminate” undesirable elements…AKA to murder people.

I think this is one of the things that made my parents leery when I first started writing it – but they both agree that I’ve dealt with the subject with maturity (but not gratuity) and cheerfulness (but not glorification).

Language

Robert Ludlum, Tom Clancy, Alistair MacLean, and others in their genre are prone to “spicy words.” Let’s face it: in the world of soldiers and spies, terrorists and mafia dons, you won’t catch many people saying, “Good golly, Miss Molly!” when they stub their toe.

I’m from a different culture.

To be specific, the homeschooling, church-y culture where “Jeez” is too strong, and “Good grief gravy!” is for when you’re really, truly frustrated.

I gotta snicker a little here, because this is an area where my first line of beta readers really raked me over the coals.

“He can’t say ‘shucks’! He’s in the Army Special Forces, for crying out loud. If the guys in boot camp caught him saying ‘shucks’ they would beat him up!”

So…I took advantage of the glorious tool of obfuscation, and peppered the manuscript with “I swore” or “I muttered a curse.”

Realism + opaque writing = something you can give your teen without blushing!

Sex

Robert Ludlum is especially bad this way, but Tom Clancy also doesn’t shy from a sex scene or two.

What about the Kimia Wood books?

Hmm, yeah, there is none.

My character doesn’t even have a girlfriend. And if he did, I have a moral compunction against including any illicit material. Just check out my full-fledged rant against romance fiction. After frothing at the mouth about characters sniffing each other like wild dogs, the last thing I’m going to do is give my book a steamy scene.

While I tend to associate the tag “clean” with sickly sweet little Amish romances or quirky romantic mysteries with brightly-colored covers, I can’t deny the strict reading of the label applies to my own work. If you’re not “dirty,” you’re probably “clean.”

Tone"Shadow"—A Christian Jason Bourne? — Kimia Wood

Alistair MacLean’s work are tense, but largely upbeat and empowering adventures. Tom Clancy’s are highly technical, with tension slowly and deliberately constructed from all sides.

Robert Ludlum stares deep into the abyss, and his work is accordingly heavy on the gritty realism of his topic. And Larry Correia, while he sprinkles humor and cool world-building throughout his books, knows how to ratchet the tension up to eleven and just keep cranking.

How am I the same but different?

"Shadow"—A Christian Jason Bourne? — Kimia Wood

Image from Pixabay

My book has been compared to The Matrix and Equilibrium. While I’m thrilled that my fight scenes evoked these same emotions, the tone of these movies is not what I was going for…nor (I think) what I achieved.

Both these movies have greyscale palates, with lots of dark costumes, rainy sets, and oppressive atmospheres.

While my protagonist is in a lot of danger (and goes through some pretty rough experiences) I wanted to stay upbeat and hopeful (with, dare I say, touches of humor?).

This isn’t your fluffy-creampuffs read…but it isn’t a GRIMDARK where you’ll leave the story feeling dirty and depressed. We put the “fun” in “run for your life”!

Theology

The best books show an honest picture of human nature, perhaps draw images from it to help us understand ourselves…and perhaps even say something profound about the universe.

Some authors (like Ian Fleming) simply provide some wish-fulfillment and let the audience have an exciting adventure. Others (like Robert Ludlum) paint vivid, honest pictures of humanity and the societies we build.

How do my works compare?

Transmutation of Shadow is fun, sure. A romp that lets us run for our lives, hide in plain sight, and experience the thrill of daring escapes all from the comfort of our reading chair.

But I tried to go deeper. As I’ve gotten older, and my writing has grown, I’ve decided “I don’t want to be room noise” – I want to say something worth saying.

As I let my conscientious Christian worldview inform my story-craft, I can deliver a story that’s about much more than a psionic assassin solving the mystery about himself…I tell a story about a killer forced to confront his own actions, to stop passing the buck, forced to find redemption.

Which only comes from Jesus.

As impressive as Clancy, Ludlum, and MacLean are, that’s a story I’ve never seen them tell."Shadow"—A Christian Jason Bourne? — Kimia Wood

Decide for Yourself!

Transmutation of Shadow is currently out with critique readers, but I plan to publish it some time this year. Stand by, and you can read this exciting science fiction/spy thriller with a humble yet determined protagonist for yourself!

It’s now available for preorder! Find at your favorite retailer…or get the paperback now!


"Shadow"—A Christian Jason Bourne? — Kimia WoodKimia Wood currently lives with her family somewhere in the American midwest, bracing for the collapse of society by knitting, baking, writing, hobby-farming, and reading as much Twitter as possible before the web goes dark.

Subscribe to the mailing list for a FREE e-copy of her post-apocalyptic adventure novella Soldier! You’ll also receive periodic updates on her latest reading and writing adventures – including WHEN SHADOW PUBLISHES!

“The Blackwell Epiphany”

"The Blackwell Epiphany" — Kimia Wood

The Blackwell games are point-and-click puzzle adventures in the paranormal detective genre.

The premise: Rosangela Blackwell (and her aunt Lauren Blackwell) are “mediums” who seek out troubled spirits, help them realize their death, and send them to “the light” of the next world. Joey Mallone is their snarky “spirit guide” who bridges the gap between spirit world and living world.

The first four games blended humor and creepy with some excellent writing, then ended on a little bit of a cliffhanger (especially if you knew there was a sequel).

Blackwell Epiphany is that sequel. While it’s not all I might wish it to be, it ends the series on a high note of emotional story-telling and professional game design. Continue reading

“Myst IV: Revelation”

"Myst IV: Revelation" — Kimia Wood I fell in love with the Myst games a long time ago. The photo-realistic worlds and the tantalizing hints of deeper things always left me wanting more.

Until now. Myst IV: Revelation has…finished Myst for me. It is concluded…I am satisfied. And for once, I don’t need to weep at the parting. (Well, maybe just a little.)

The World

The central premise of Myst is that a civilization called the D’ni could create worlds by writing books, and then visit those worlds physically by linking through the books. (A person must bring a return Linking Book with him when he goes exploring, and any book you link through doesn’t come with you – it stays in the first world.)

From a first-person perspective, we point and click our way through these “Ages” to unlock doors, uncover passwords, power machines, and solve puzzles. And, of course, soak in breath-taking landscapes, vistas, and architecture."Myst IV: Revelation" — Kimia Wood

Whatever else I can say, the world is still incredible. Hydraulic locks, levers and buttons, rotating bridges and elevators…it’s like an engineer’s playground. These real-world mechanics mix, of course, with magic crystals, strange animals, bizarre cultures, and the Age-writing Art of the D’ni.

The Progress of Technology

Myst was released in the dark ages of computing, when graphics cards were limited, the in-game animations were tiny and limited, and the curser was a 2D hand (that changed shape for different interactions).

Revelation seeks to take full advantage of the progress of computer technology, and offers a 360º, 3D-rendered environment to explore.

This means that the world around you doesn’t always look as photo-realistic as it did in Myst, or Riven. The camera also has a tendency to focus in on the foreground, or the background, depending on where your cursor is. I think this is to mimic the variable focus of the human eye, but it’s distracting.

As for the cursor, it’s a 3D, CGI hand. It waves vaguely wherever you point it; extends the fingers to indicate a direction you can move; whips out a magnifying glass if something can be examined more closely; and stretches the fingers subtly if you can unroll a map, pull a lever, or other similar action. This final characteristic can be easy to miss, and if it’s not obvious something is there to manipulate, you can easily miss some interactions.

Atrus’s Family

If you haven’t yet played Myst or Riven, SPOILER ALERT! (Also, go do that.)

Way back in Myst, we met two characters trapped in books that they had thought were Ages: Sirrus and Achenar. Their dad is Atrus, and he is a descendent of the fallen D’ni civilization and a writer of Ages.

If you played through Myst, explored the Ages that link from it, solved Atrus’ pretty un-secure password manager, and uncovered the truth about what happened…you’ll know that Sirrus and Achenar trapped their father without a Linking Book home, distracted their mother, burned most of Atrus’ library of Books, and used the special Books he had warned them never to touch.

Blam! The books trapped them. And once you free Atrus, he burns those books to keep them from ever escaping.

Until now.

Revelation!

Fast forward twenty years. Atrus invites you (his nameless, faceless, gender-less “friend”) to his new home, where he is attempting to spy on the Prison Ages and decide if his sons have repented of murdering the inhabitants of the Ages and are ready to be released.

Yes…we can see this ending well, eh?

"Myst IV: Revelation" — Kimia Wood

Image from Pixabay

Turns out, he and his wife have already written visiting capsules into the Prison Ages. That way, they can link into the capsule, have a visit through bars, and link away – leaving the Linking Book for their own home out of the reach of the prisoners.

The prisoners can’t possibly escape! Why would you worry about that? Atrus only built complex machinery and houses and scientific equipment by hand in his various Ages…what makes you think his sons could do the same thing from scratch?

Yeesha

Did I mention? Atrus also has a ten-year-old daughter now.

Maybe it’s her dialogue, or maybe it’s the delivery of the actress, but Yeesha is clearly supposed to capture our sympathies and feel like a dear friend (even though we’ve actually only just met). Y’know, one of those annoyingly perfect child-characters.

Especially as the “mysterious circumstances” start piling up, you really start to feel that Atrus is a clueless dupe who should have stuck to books, and not attempted children.

Puzzles

I should say something about the puzzles.

We have our classic Myst fare here, with locked doors; passwords in journals; machines that need power; etc.

It made me wonder if Atrus has a constellation-based color-combination lock on the bathroom…and then I realized that his house has no bathroom.

Also contains one or two pixel-hunts, although that might be due to the mechanics of the cursor-hand (see above).

Messin’ with Memory

Added to those familiar hurdles is a new mechanic. Yeesha has a magic necklace that shows memories."Myst IV: Revelation" — Kimia Wood

This, along with the journals that every member of Atrus’ family conveniently keeps, lets you piece together the motives of the various actors, solve some of the puzzles, and generally be the worst thing to happen to Sirrus and Achenar!

M’whahaha! If you wanted to forge an evil plot, you shouldn’t have invited the Stranger-from-the-Starry-Void!

Seriously, though, this mechanic gives you hints for solving the puzzles, plus valuable information at unraveling the sinister plot being woven.

Who is plotting what? Who is evil? And who should I trust?

Being able to view people’s secret memories is very handy for that…

A note on story tension

My family mocked me for this, but I’ll bring it up anyway.

Whenever you linked to new Age in Myst, you had to solve the Age’s puzzles and get things working again to unlock the Linking Book and return to Myst.

In Riven and Exile, you plunged into an unknown world without a ticket out, and had to solve your way forward to find any way to escape. (And in Riven especially, Atrus’ wife’s fate hangs on your success.)

In Revelation…your first task is to “oh, get the power back on, will you?” Your second task is, “Feel free to check out my Linking Books if you like…oh, and make sure Yeesha does her homework.” Ha ha.

Beyond that, though, every single place you visit has a Linking Book back to Atrus’ home right there at the beginning. You don’t need to venture into predator-infested jungles, or brave bottomless shafts in wind-swept fortresses…you can say, “Forget this,” and hop back home.

Obviously, I bought this game in order to play through the puzzles, and feel smart, and uncover the story through journals and clues. And my family helpfully pointed out that this gives the game a less linear structure. You can solve this Age, or that Age, or stay and futz around the first Age…or jump to this new Age…

Solve puzzles in whatever order you want. Travel when and where you want. Stop and go back to a place you especially liked if you really want.

True, this gives the player much more freedom in how they play and the order they play puzzles in (and the sequence in which they unravel the story).

However, it also saps some of the urgency from the story. You are not trapped, and hunting for an escape. Later on, you’re kind of searching for Yeesha, and trying to uncover what happened…but it’s not like there’s a rush. There’s plenty of time to ransack the Ages for anything marked PRIVATE DIARY. And, well, there’s not the same level of narrative tension.

(Perhaps if I hadn’t thought Yeesha was an annoying Mary Sue who was also try to kill me via collapsing bridge, I would have felt more invested in the rescue mission. But again, when I could back out at any time and return to Atrus’ house… “Hey, I’ll make some tea or whatever your culture drinks…Hope it all works out, Atrus! Maybe you should spend more time supervising your children than leaving them in the care of your ‘friend’ and dashing off for machine parts.”)

Serenia…or, the 1960s New Age-y Age

Revelation gives you four Ages to explore. The final one is Serenia.

"Myst IV: Revelation" — Kimia Wood

As if the rest of it wasn’t weird enough…

The outside of Serenia is beautiful — full of twisty, hard-to-map paths; flowing, conjoining streams of water; butterflies that look like organza pixies; and trees that release dandelion-poofs on the wind.

The inhabitants’ culture is based around giant mushrooms that store people’s memories when they die, so their loved ones can travel to a mental space called “Dream” and “visit” the dead ancestors again.

(As one of the female tenders of the mushroom says: if you don’t heal the “Memory Chamber”, “we may never be able to visit our loved ones again!” I bleed for you says the gal from a world where people stay dead…and we don’t have memory spheres to help hallucinate a spirit visit.)

Back to the culture, the “Protectors” have somehow seen your arrival prophesied (y’know, you – the protagonist) and help you find a spirit guide (from the air, fire, or water spirits that play in the forest) so you can travel to Dream and find out who kidnapped Yeesha.

They also wear a stripe of face-paint down their noses (and have creepy, African-esque masks). And the puzzle in Dream is like musical color-matching on evil steroids!

Atrus was always an apologetic, kinda nerdy guy…but lately he seems to just assume you’ll help dig him out of whatever hole he’s gotten himself in. And these all-knowing chicks in Serenia are even more pompous and touchy-feely.

Even if I hadn’t heard such dismal things about Myst V: End of Ages…this “New Age” spiritualism is enough of a departure from the original heart of Myst (nuts and bolts, analog passwords, and the science-based “magic” of the D’ni Art) to make Revelation my last Myst game.

Climax Catharsis

Yet I said I was satisfied. Why am I satisfied?

Well, without laying bare the resolution…the climax of Revelation hinges on you choosing to believe one of Atrus’ children over another. This choice is based on what you have learned by reading their journals, listening to their memories, and piecing together the Evil Plot (and who is probably responsible for it).

Got the right answer the first time. (Thank you, thank you, no need to clap.) And the conclusion that is spun from that –logically, inexorably – brings the plot-line to a perfect and reasonable end.

While the writers did a bit of ret-conning to bring Sirrus and Achenar back into the story, the way they handled the two of them (and Yeesha) was believable, appropriate, and entirely conclusive.

In a way, they un-did the ending of Myst…and yet, in another way, they built onto it so naturally and understandably that Revelation is really a good end for Myst – the game and the series.

My Last Myst Game

When I played through Myst again several years ago (in the updated and expanded RealMyst version), I loved the Ages and the visuals as much as I always had…and left hungry to play Riven.

"Myst IV: Revelation" — Kimia Wood

A secret journal? Must read!

I re-played through Riven: The Sequel to Myst, and I loved it even more than Myst (not only is it longer and more complex, but it feels like less of the history is buried or off-screen). It also left me longing to play Myst III: Exile.

I have not yet played through Exile a second time, but I know it left me eager to try Revelation.

And now…

Part of it is the bad reviews my brother tells me about from Myst V, and part of it is…the story is complete.

I have scratched my first-person point-and-click itch. Myst created a game type never before seen…and now Revelation has brought the story and the world full-circle.

The ending is bittersweet, poignant, and appropriate. It is also, I think, The End.

(Though I already bought Obduction, which is by the same developers/writers, but set in a different universe. We’ll see how that one pans out…)

As always, I highly recommend the Universal Hints System to give you just the help you need…and no more.

In Myst IV: Revelation, the next chapter in the greatest adventure saga of all time, you’ll travel through environments pulsing with life to unearth a treacherous scheme involving two of Myst’s most sinister villains.

Find the game on GoG.com (DRM-free!), Steam (which includes DRM in their software), and on Amazon if you really need a disk (though paying over three times the price for digital download sounds ridiculous).

Wish-list it on GoG to be emailed when it goes on sale!