A review by shell_s
Annihilation Aria: Book One of the Space Operas by Michael R. Underwood
adventurous
emotional
funny
hopeful
inspiring
lighthearted
mysterious
reflective
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
5.0
Annihilation Aria sings with intense action sequences involving blade combat and energy blasts and, eventually, a legendary weapon capable of wrenching apart planets---but the sweetest and strongest notes are about devotion to the people we cherish, be they 'found family' like spouses and ride-or-die friends, or kin by blood or heritage.
The warp space planet hopping adventure is top notch though, with mysteries and quests and fascinating locales to fuel many more adventures for the crew of the intrepid, if somewhat Frankenstein-stitched together, spaceship Kettle. The close calls of a motley ship's crew delving ruins for artifacts they can sell to keep their vessel flying and dodging interference from imperial forces and local crime bosses soon give way to far grander ambitions and showdowns.
Still I find that character is the most vital component of most tales, including rollicking adventures, and here as always Michael Underwood delivers. The alternating perspectives by chapter work wonderfully to introduce each lead and their unique perspective and personal history and deepest longings and goals.
Two of the leads/narrators, Lahra and Max, are immensely appealing as a tender and flirty, bantering couple who support and complement each other, and on their own impressive merits.
She is a stalwart protector and warrior whose blue-skinned Genae race puts the epic in oral tradition with their songs to augment combat skills and repair damaged objects and more, worthy of a 20th level Dungeons & Dragons RPG bard. Her fight scenes are thrilling.
Her husband is a black native of Baltimore research geek, playful but brilliant as a ruins-delving archaeologist and super linguist, and possesses D&D rogue's knack for avoiding traps and solving puzzles as well as a facility for interpreting texts and symbols. The scenes of trap and puzzle-navigating in temples bring their own thrills.
I found it refreshing that Underwood gave starring roles to a blissfully married couple attuned to each other's strengths and moods and needs, an all too rare glimpse of what comes after "will they/won't they admit their attraction and get together." Granted, these lovers do have goals that threaten to tear them apart--she to serve her people by locating a long-lost heir to the throne, and he to return to the Earth he was accidentally zapped away from--but I'm pleased with the characters' arcs by the final chapter.
The third lead/narrator Wheel, of the cybernetic Atlan race that can interface directly with machines, is far older (a refreshing detail in itself) and more cynical than her 'lovebird' crewmates and has this very cool hacker/drifter/stunt pilot vibe. Unlike Lahra, Wheel doesn't want to risk her neck to overthrow the conquering Vsenk race, even though her homeworld too was destroyed by one of their super weapons.
Also unlike Lahra, Wheel is trying to avoid relationship entanglements, including the siren call of two former girlfriends: her fellow Atlan Cog, leader of the underground resistance, and smooth-talking mob boss Jesvin Ker of the feathered Rellix race.
Like many reviewers I was surprised but pleased that even the series' villainous oppressor race got a relatable representative voice too: low-ranking diplomat Arek, yearning for a post that lets him spend more time with family. His people, the tentacled insect-like Vsenk, have a stranglehold on trade and history both, and insist they are god-like creators living benevolently among their creations in an era of harmony and prosperity (after a bloody conquest of dissidents, which the other major alien races remember all too well).
Scenes of the Vsenk's political intrigue, and discussing the pursuit of our heroic trio of protagonists and dastardly schemes to maintain power, added to the compelling worldbuilding and suspense overall.
Other scenes that are just straight up awesome include everything involving the humongous sentient space turtle race who also happen to be the universe's supreme archivists and librarians. Their concept combines so many of my favorite things, I couldn't ask for more.
It's also pretty fun and refreshing that Max is the lone Earth human in this story, and he was accidentally stranded and isolated in the outer reaches of space, which means none of the major plot arcs center on Earth or its political and economic concerns.
Final note, there are serious moral and personal conundrums and debates in these pages that make it heftier psychological and dramatic fare than its gorgeous 80s space opera film evoking cover might suggest, and that makes it all the more worthwhile to take the ride.
WHEN AN ADVENTURE TAKES YOU TO NEW HEIGHTS AND DEPTHS, SPEAK UP---BOOST THE SIGNAL!
The warp space planet hopping adventure is top notch though, with mysteries and quests and fascinating locales to fuel many more adventures for the crew of the intrepid, if somewhat Frankenstein-stitched together, spaceship Kettle. The close calls of a motley ship's crew delving ruins for artifacts they can sell to keep their vessel flying and dodging interference from imperial forces and local crime bosses soon give way to far grander ambitions and showdowns.
Still I find that character is the most vital component of most tales, including rollicking adventures, and here as always Michael Underwood delivers. The alternating perspectives by chapter work wonderfully to introduce each lead and their unique perspective and personal history and deepest longings and goals.
Two of the leads/narrators, Lahra and Max, are immensely appealing as a tender and flirty, bantering couple who support and complement each other, and on their own impressive merits.
She is a stalwart protector and warrior whose blue-skinned Genae race puts the epic in oral tradition with their songs to augment combat skills and repair damaged objects and more, worthy of a 20th level Dungeons & Dragons RPG bard. Her fight scenes are thrilling.
Her husband is a black native of Baltimore research geek, playful but brilliant as a ruins-delving archaeologist and super linguist, and possesses D&D rogue's knack for avoiding traps and solving puzzles as well as a facility for interpreting texts and symbols. The scenes of trap and puzzle-navigating in temples bring their own thrills.
I found it refreshing that Underwood gave starring roles to a blissfully married couple attuned to each other's strengths and moods and needs, an all too rare glimpse of what comes after "will they/won't they admit their attraction and get together." Granted, these lovers do have goals that threaten to tear them apart--she to serve her people by locating a long-lost heir to the throne, and he to return to the Earth he was accidentally zapped away from--but I'm pleased with the characters' arcs by the final chapter.
The third lead/narrator Wheel, of the cybernetic Atlan race that can interface directly with machines, is far older (a refreshing detail in itself) and more cynical than her 'lovebird' crewmates and has this very cool hacker/drifter/stunt pilot vibe. Unlike Lahra, Wheel doesn't want to risk her neck to overthrow the conquering Vsenk race, even though her homeworld too was destroyed by one of their super weapons.
Also unlike Lahra, Wheel is trying to avoid relationship entanglements, including the siren call of two former girlfriends: her fellow Atlan Cog, leader of the underground resistance, and smooth-talking mob boss Jesvin Ker of the feathered Rellix race.
Like many reviewers I was surprised but pleased that even the series' villainous oppressor race got a relatable representative voice too: low-ranking diplomat Arek, yearning for a post that lets him spend more time with family. His people, the tentacled insect-like Vsenk, have a stranglehold on trade and history both, and insist they are god-like creators living benevolently among their creations in an era of harmony and prosperity (after a bloody conquest of dissidents, which the other major alien races remember all too well).
Scenes of the Vsenk's political intrigue, and discussing the pursuit of our heroic trio of protagonists and dastardly schemes to maintain power, added to the compelling worldbuilding and suspense overall.
Other scenes that are just straight up awesome include everything involving the humongous sentient space turtle race who also happen to be the universe's supreme archivists and librarians. Their concept combines so many of my favorite things, I couldn't ask for more.
It's also pretty fun and refreshing that Max is the lone Earth human in this story, and he was accidentally stranded and isolated in the outer reaches of space, which means none of the major plot arcs center on Earth or its political and economic concerns.
Final note, there are serious moral and personal conundrums and debates in these pages that make it heftier psychological and dramatic fare than its gorgeous 80s space opera film evoking cover might suggest, and that makes it all the more worthwhile to take the ride.
WHEN AN ADVENTURE TAKES YOU TO NEW HEIGHTS AND DEPTHS, SPEAK UP---BOOST THE SIGNAL!