Overall not a bad book. The basic plot is relatively routine. Young nobleman, conflict with father, off on adventure, save the world from evil. It reminds me of the books by Elizabeth Boyer.

The characters are fairly well defined and the system of magic is pretty well set up. There does seem to be a preoccupation with having no faces but it feeds into the storyline well.

The book suffers from it's length. There's simply too many things shoved into a 232 page book. As a longer book or even a short series it would have allowed Betancourt to flesh out the world, the characters and the conflict between the gods and the demons. As it is you finish it and kind of ask yourself " is that it?". He sets up an interesting pantheon of gods but never gets around to giving any information about them except for the one involved in the plot, the Blind Archer. The hints he gave about the others made me curious to find out more about them.

All in all a good bit of light fantasy reading. The author bio in the back stated that Betancourt was planning on more books set in the same world. Apparently he never got around to writing any. Given more time to fill out the details of the world it might have proved interesting to read.

"Mr. Meeson's Will" was first printed in book form in October 1888, after having first appeared earlier that year in "The Illustrated London News." It was H. Rider Haggard's 11th novel (out of 58), and one in which his experiences as both a writer and aspiring lawyer were given vent. The novel is at once a tale of adventure, a critique of the publishing industry in late 19th century England, and a satire on the English legal system. In the book's first half, Augusta Smithers--our heroine and a successful author, who has unwittingly entered into an unfair contract with Meeson's publishing firm--takes passage on board a steamship bound for New Zealand, where she hopes to make a fresh start. Her enemy, Mr. Meeson himself, is on board the same boat, coincidentally, and when the ship sinks after a catastrophic collision with a whaler (in a disaster scene that predates a similar, fictional shipwreck in Haggard's 1905 novel, "The Spirit of Bambatse," not to mention the real-life Titanic disaster of 1912), Augusta, Meeson and several others are washed up on one of the lonely Kerguelen Islands, in the south Indian Ocean. Before his death, Meeson decides to alter his will and, having no other means of doing so, has that testament tattooed upon Augusta's back! This sets up the story for the book's second half, in which a huge court battle takes place regarding the validity of this document. What might have turned out to be a dry exposition of legal procedures in another author's hands is handled quite entertainingly by H. Rider, and the result is a book of adventure in the first half--the shipwreck and marooning scenes are especially fun--and interesting court battles in the second. Haggard must have greatly enjoyed exposing the unfair practices of the publishing system that had tried to cheat him during his early career, much as Meeson & Co. had cheated Augusta. The book, though a lesser title in Haggard's bibliography--and probably a seldom-read one today, at least as compared to such other Haggard titles as "King Solomon's Mines" and "She"--offers ample entertainment value for the modern-day reader, and I do unreservedly recommend it. This book was, by the way, made into a film starring Lon Chaney in 1916, and called "The Grasp of Greed." If it's half as good as its source novel, I would love to see it one day.

Another passable book as the written series was trying to find its feet. The Hortas explored in the first Star Trek series are brought back here. The logic of bringing creatures on board a space station who can bore through anything is questionable and again its the Cardassians who are throwing a wrench into the plans.
It took awhile for the written series to find it's own feet, amazingly enough when the series went off of TV and was dependent upon the written series as the sole outlet.

Star Trek: Deep Space Nine Devil in the Sky written by Greg Cox and John Gregory Betancourt is a true to character novel about one of the universe's best miners... The Horta from Janus VI.

This is a two-plotted book with a fast paced theme within the major plot. The Horta were recruited to help rebuild Bajor's devastated mining industry after the Cardassian occupation. The planet's struggling economy needs a boost with the exportation of minerals and the Horta are the best miners in the galaxy. So, Mother Horta with twenty Horta eggs are on Deep Space Nine ready to mine away the rock.

But, this wouldn't be TREK without a hitch in the gitty-up... that is the Carassian kidnapp Mother Horta and her eggs are beginning to hatch on Deep Space Nine without their moter. Hortas can go through solid rock like us walking through water.

Kira/bashir are on a rescue mission to retrive Mother Horta (the first plot). Commander Benjamin Sisko is on Deep Space Nine with the twenty hatching,(the second plot). Horta hatchlings can be very uncontrollable without guidence from the mother.

I enjoyed this fast paced book and the characters of Benjamin Sisko, Jake, Rom, Kira, Bashir, Odo, and O'Brian were all very true to their respective characters. The storylines were woven with just enough of the story to keep you interested to the ending.

All in all, this was a well-written action-adventure with interesting characterizations.

I don't know about you, but I'm having a big ol' ball going back and reading some of these earlier Trek novels (See "The Murdered Sun").

Greg Cox and John Gregory Betancourt penned a wonderful, two-plot early adventure that ties in canon information about the Hortas with newer information about the Cardassians. This novel just sizzled with all that lovely hatred the Bajorans had for their (former) oppressors.

This one's also chock full of early Bashir attitude, before we learned about his enhanced genetics and certainly *well* before he got over himself about being a ladies man. Quite entertaining, I say, and darned amusing, too. In fact, this story abounds with perfect early characterizations of all of them - Kira, Dax, Odo, Quark, the O'Briens, Sisko, Nog, Jake, and Rom, and was a pure delight to read, this long after the series ended.

But don't worry about the Cardies or the Hortas - Our Man Bashir comes through in the end. Wait a minute, what am I saying? *Everybody* comes through in the end - of COURSE they do, this is Star Trek! And there's nothing wrong with that.

A-plot concentrates on a daring Kira/Bashir/Dax rescue of a mama Horta from the Cardies, and when you stir in the almost-goofy b-plot about 20 accidentally-hatched baby Hortas on DS9 (mmm...who managed that, don't ya wonder?), you've got a what amounts to a mighty grand escapade in the finest of Star Trek tradition.

This is an enticing collection on the face of it, mainly because of the reputation of Weird Tales, and how expensive it would be to retain the issues from which these stories have been culled; but after sampling all the stories collected here as "the Best", I confess to overall disappointment.

This collection merely sets the table, and invites the reader to sit down. Weirdly enough, my favourite stories in the bunch probably qualify as the least weird. I liked the stark, bitter message of The Bloodstained Parasol, where a young woman just can't accept what her science-minded paramour does for a living--no ghosts or zombies here, just a quick look, back in 1923(!) at the inhumanity of scientific investigation. Then there's the story called, clunkily, The Two Men Who Murdered Each Other, which actually features two greedy fools who thought they murdered each other but didn't. Nevertheless, they get another chance to do it all over again at the climax.
Another quietly successful story with no supernatural elements: The Man Who Owned The World. Besides another jab at how science, far from being a boon, can be a curse for everyday man, it suggests that perhaps a dreamland is a happier place than reality.
Then we have the other stories, full of man-eating plants, phantom hearts, sinister incantations of devil-worshippers, and the hateful death-magic of an old Kahuna. But these weird tales just don't seem weird enough for this reader of the twenty-first century. The plot twists are simple, predictable, mostly leading nowhere except to some cheerless last line that gives us another raving madman, or another lesson in trite supernatural retribution. I started begging for some kind of twist-ending, some kind of shake-up to the recurring formula.
Most of the stories, then, are short, well-written if a bit heavy-handed, and fairly forgettable--starring a lot of small people who inevitably get what they deserve, served up either by human hands, or the unknown. This short collection might have been done in by part of the editorial policy; the editors provide inserts that comment on the state of the magazine each month, and in doing so, tip us off to all the great stories that were NOT included because they only wanted each author, no matter how consistent, represented once, or because they felt some stories, apparently marvellous, had been anthologized too much already and so somehow didn't need to be represented here. It gets a bit frustrating hitting upon this sort of commentary repeatedly, causing the deduction that perhaps this is not, after all, really The Best of Weird Tales: 1923.
Perhaps a key collection for die-hard Weird Tales fans only, and I have a feeling that Lovecraft's first story, Dagon, is accessible elsewhere--probably in those other anthologies which contain all the Weird Tales we didn't get here.

This anthology is a must for fans of weird fiction. Today most copies of Weird Tales from tha time period can cost Anywhere between $100 and $1000. This anthology allows us to read some of the stories that appeared in The Unique Magazine in its heyday. A must read for doe hard weird fiction fans.

While the book jacket calls this "The SCI-FI Channel Encyclopedia of TV Science Fiction," it is more a product of England's TVTimes. It is a very good resource for British SciFi and, for the price, is worth owning for that reason alone. However it is more notable for what it omits than what it includes. Space limits a point by point critique, but two things became apparent almost immediately. First, it does not have an index. While, like most encyclopedias, it is in alphabetical order, with out a comprehensive index it is impossible to cross reference information. Second, It has many glaring omissions. No work can be total, but the history of TV Sci-Fi is not that long. In the whole realm of TV shows, few are Sci-Fi, so a complete list should not be that hard to assemble. The authors have made a good try, but where they fall short is questionable. If "Journey to the Unknown" is classified as Sci-Fi, why is "Thriller" omited? If Sci-Fi comedy such as "Captian Nice" and "Holmes and Yoyo" listed, where is "My Living Doll," "Mr. Terrific," or "It's About Time"? Why didn't the "Star Lost" make it to the "41 obscure Shows. . ." list at the end of the book? The inside jacket says that, "no true SF fan should be without this up-to-date reference guide." In reality, any true SF fan will find this book cute but annoying. And any casual TV fan looking to add to their reference library would do better buying "The Complete Directory to Prime Time Network TV Shows." It tends more to deliver what is promised

I'm a life-long fan of Science Fiction who was raised with TV as my primary grow light, and as such, I gotta tell you that THE SCI-FI CHANNEL ENCYCLOPEDIA OF TV SCIENCE FICTION, by Roger Fulton & John Betancourt, it is pretty cool. It contains lots of information about all those great--and even not-so-great--Science Fiction, horror, and fantasy TV shows that we SF fans all love and cherish, including some stuff on obscure, nearly forgotten shows like NBC's short-lived SF comedy QUARK. There are also program guides for a lot of the shows listed, with air dates and short episode synopses.

While I really like the book and think it is a must for any serious fan of SF, there are, alas, a few shortcomings--but only a few. For one, it does not contain an entry for BORIS KARLOFF'S THRILLER, which is surprising not only because the show is an American classic, but also because the show itself is currently broadcast on the very network that is sanctioning this book. Also, fans of certain less-popular but relatively recent shows may be disappointed to find that the entry for those shows do not include an episode guide (e.g., THE FLASH or THE ADVENTURES OF BRISCO COUNTY, JR.). I must also mention that there are a few mistakes in the book's Table of Contents, but this is only a minor annoyance and is easy to surmount.

In short, if you love SF, especially Television SF, you will enjoy this book.

"The Sci-Fi Channel Encyclopedia of TV Science Fiction" is an impressive achievement by co-authors Roger Fulton and John Betancourt. The book is a guide to dozens of science fiction TV series dating from the 1950s to the late 1990s. The authors include British and U.S. series (as well as a few productions from elsewhere). A nice touch is the inclusion of children's series and short-lived series (such as TV's "Planet of the Apes" and "The Fantastic Journey"). Fantasy, as well as sci-fi, series are included.

For the main series profiled, the authors provide an introductory article as well as a complete episode guide. For each episode, they give a plot summary, as well as writing, directing, and guest-starring credits.

Not all the series are given such detailed attention; some only have the episode titles listed, and some don't even get that. In general, shows that get less comprehensive attention are shows that are primarily thought of as representatives of another genre: "Bewitched" (sitcom), "The Six Million Dollar Man" (action/adventure), etc.

Despite its sometimes incomplete nature, this is a wonderfully informative and entertaining book. Sci-fi staples and cult favorites are well represented: "Babylon 5," "Blake's 7," "Quantum Leap," "Star Trek" and its various sequels, "The X-Files," etc. I particularly liked the ample attention given to short-lived shows that were nonetheless loved by devoted circles of viewers.

Of course, a book of this nature is generally out of date by the time it hits the bookshelves, so I am already anticipating a new edition. But until then, this book remains in an honored position in my library.

This book is fan fiction. It is not written by Zelazney, creator of this world, but by a fan of his. As such, it breaks every spoken and unspoken rule of fan fiction there is.
On the cover in a large font reads "Roger Zelazney's The Dawn of Amber." Far off and in smaller print is Betancourt's name. This is misleading. Is this Zelazney's work? No. Zelazney knew his world, and must have had the events prior to his published books already fixed in his head, even if he never meant to write them. Therefore, this is in no way Zelazney's version of the dawn of his world, and such a titling seems to me grossly improper.
No where in this book is a disclaimer, another rule of fan fiction. Except for a brief mention in the dedication, nowhere does he thank Zelazney. Nowhere does he attribute creation of the world with bubbling praise to him. Nowhere does he assert that his views are precisely that, his views, and in no way gospel Amber.
The first rule of fan fiction is regretably irrelevant here. The idea of not making any money off of a fan work is made inapplicable by the legal permision Betancourt acquired. However, it was my impression that Zelazney was never too enthused about the prospect of someone else continuing his works, though I may be wrong.
Despite how Zelazney-esque this book may appear to be, Betancourt was not respectful enough to do the things any such fan fiction ought, and that is enough to give an unforgivably foul taste to this trilogy, no matter how much we may wish for more Amber.

I'll admit I read this prepared to be disappointed and maybe that is why I was so pleased with 'The Dawn of Amber.' Betancourt follows the Zelazny Amber formula for the first half of the book, but I found myself really getting into the second half of the book and the ending was perfect (considering this the first of the trilogy).

Oberon is a soldier, nothing more, and he's fighting a losing and doomed war. At least he is until his long-lost 'uncle' appears to tell him that he is needed elsewhere. Oberon finds himself a part of a large and disputatious family--all princes of Chaos and capable of walking the shadows. Yet Oberon lacks the internal pattern that allows shadow walking--or at least, his pattern is different. Too different to allow him to use the magics available to the others. Which is too bad because the entire family is under attack and, without some major help, all will be destroyed.

THE DAWN OF AMBER is set in the late author Roger Zelazny's Amber universe in the days before the creation of Amber and the shadow reflections that surround it. Author John Gregory Bethancourt does a good job conveying the feel that Zelazny created in his Amber novels. Oberon's family is disfunctional, constantly bickering amongst themselves, and powerful, just as Corwin's family is in the first Zelazny novel in the series.

Bethancourt's writing is highly approachable, making DAWN a quick read. I would have preferred, however, for more story to occur. To too large an extent, DAWN sets the stage for future activities, introducing the actors and developing the idea of Oberon's unique pattern. Fans of the Amber series (like me) will enjoy this detail. Even we, are likely to wish that more actually happened in the novel.

Born of Elven Blood was an okay book, but I wouldn't recommend purchasing it. Alot of it seemed rather cliched, and the writing style just wasn't that compelling. The characters and the world of Faery are likeable enough, but rather dull compared to all the other great fantasy books out there! To sum it all up, if you are looking for a great novel that will keep you hooked and last more than an hour, read something else.

This is an engaging chapter in the Argonaut trek. There is a lot of revision from the older versions of this stop along the Argonauts journey, but with so many variations these days, it's not too far-fetched. Not too gory, but action-filled, and full of the bravery of men in skirts and sandals. The sea monster scenes are well-described. Sexy cover art, too!

John Gregory Betancourt signed my copy of this novel: "Enjoy! My best fantasy". Well at the time, I think it may have been, but I now know that he can and has written better.

If you like Pirates or tales of swashbucklers, than pick up this novel. If you are leaning towards the ocean in your AD&D scenarios, then pick up this novel.

Rogue Pirate is as entertaining as your imagination can take it, much like AD&D (you must fill in some of the details)

Yes, indeed, there are times when reading an early, possibly previously unknown or unpublished work by a favorite established author can be a joyous reading experience. Not so in this particular case, however. This one should have died aborning.

To be sure, anything written by Rex Stout cannot be other than gracefully written, while exhibiting a thorough knowledge of the setting and any other details necessary to the plot. This IS well-written, and as far as I can tell, an accurate recreation of the period of 1914, just before the outbreak of World War I, when there were still myriad little princedoms scattered about Europe, each with their own Prince. Or Duke, perhaps, although here we have a prince.

We have also a Mata Hari type who quite defies description! And a TSTL male lead character. (That means 'too stupid to live' for the uninitiated.) There is an ingenue, and a quite nice young diplomat and a villain who isn't really, plus the aforementioned prince.

Richard Stetton, a wealthy young American afflicted with wanderlust happens on a riot in Fasilica, wherever that is in middle Europe, somewhere, more near the Orient and Asia than the continental areas with which we're more familiar, such as France, Germany, Switzerland, Italy, and so forth. When he sees the out-of-control troops attack a convent, he rushes to assist anyone he can find. Thus he meets up with a devastatingly beautiful blonde, Aline Solini and her younger, orphaned friend, Vivi Janvour. Better he had run in the opposite direction several hours earlier. But he didn't, and for the next 300+ pages, the reader is treated to the impossible, the improbable, and the unbelievable.

Frankly, I cannot believe that Rex Stout approved this venture--having the 25 chapters put into book form, rather than being spread out over several months in the telling. Perhaps if one were to read it, one chapter per week, it would be more palatable and less laughable. It won't tarnish Stout's brilliant reputation, except to those who've never read the Nero Wolfe books. What a pity if it should discourage anyone from reading those books or the short stories or novellas about Nero and Archie and their cohorts, which are entirely splendid.

This effort, however, reeks of an attempt by someone to generate income using the defenseless author who died several years ago, and is no longer able to defend himself from such nefarious schemes.

Predictable. Non-satisfying climax. There are a couple of characters that are so positively dumb, you just want to slap the sh** out of them. Don't base your opinion of Rex Stout on this book. It reads fast but you'll just end up frustrated with the events.