Tag: science-fiction

Book: German Shenderov, Sergey Tarasov “The Knówer: Bonds of Hell”

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The big discovery of last year for me was Ivan Belov’s Zastupa series; the third book came out just recently, and I’m going to read it as soon as it starts being sold in an ebook version. In my review I praised the first two books a lot, and someone wrote to me that in that case I absolutely had to read another one that came out in the same The Scariest Book series.

That was The Knówer: Bonds of Hell, co-authored by German Shenderov and Sergey Tarasov. Originally, German Shenderov had written only a short story, “Khryashchekhmyl,” which appeared in his short story collection back in 2022. But later he wrote two more stories about the same character, after which Sergey Tarasov joined the series, and together with Shenderov he finished the book—what has now become a novel in stories. And the original “Khryashchekhmyl” became only the first chapter of this book, changing its title to “Atonement.” And already as a novel, the book came out in 2025.

The recommendation—and then the blurb—won me over. The story is set mostly in 1965, in a small Belarusian village, where a local knówer lives and fights evil spirits. Folklore, and on Belarusian soil that’s native to me… I just couldn’t pass it by.

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The Last of Us — Season Two

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I’ve watched the second season of The Last of Us. I was already very disappointed with the first one, though my wife liked it.

I watched this season with great difficulty. But by the end even Tanya said she doesn’t want to watch the next one.

My complaints are fairly straightforward. Bella Ramsey is a good actress, but she’s completely wrong for this role. And appearance isn’t even the main issue here. Although, yes, let’s briefly touch on looks too. I do want adaptations to resemble the characters we know from the games. And even Pedro Pascal, charismatic as he is, still doesn’t quite match my image of Joel. But Bella creates an entirely different perception of the character because she is fundamentally different. Dina in season two also doesn’t look like her in-game counterpart, but at least her personality fits. Anyway, after the first season I had already made peace with the visuals.

My main complaint is that the writers, together with Neil Druckmann, for some reason completely reworked the characters’ personalities and motivations. For the sake of flashy spectacle, they changed both the internal logic of the world and the characters’ actions.

The episode with a zombie army attacking Jackson may look impressive, but it’s illogical (fast zombies in such huge numbers would have wiped everyone out instantly), it doesn’t exist in the game or its logic, and it directly contradicts it — the area around Jackson is constantly cleared precisely to prevent any large horde from forming. Yet somehow they missed an entire army. And narratively, this episode is completely unnecessary, in my view. The game’s motivation works far better without any zombie armies.

From the very first episodes, Ellie is portrayed as a reckless, self-absorbed idiot who doesn’t care about rules and just does whatever she wants. And not only does no one put her in her place — everyone around her turns a blind eye to it (which, honestly, explains how they ended up with a horde right next door). And everything Ellie does afterward only reinforces this impression. She’s not a strong character with an internal code. She’s not someone who has to overcome herself to torture a person and then break down in tears afterward. All of that remained in the game and was effectively buried by the writers. In the series she’s just an extremely unpleasant fool — to the point where at some stage I actually found myself wishing she’d just get shot already and the show would end on that happy note.

All in all, I’m genuinely surprised that the creators are doing such a thorough job of undermining their own work. I won’t be watching any further — especially now that even watching it out of solidarity is no longer required.

Book: Ivan Belov, the ‘Zastupa’ series

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I love fantasy, especially the kind rooted in Slavic folklore, filled with all sorts of dark creatures. But I only discovered Ivan Belov’s Zastupa series thanks to a review by a friend. I got curious and almost immediately decided to read it — and I have no regrets.

This isn’t just another gothic novel about vampires, even though the main character throughout the series is undead — a vurdalak (actually a vampire) named Rukh Buchila. He serves as the zastupa in a village near Novgorod — that is, the protector of its people from other dark forces, literally the one who “stands up for” them (in Russian — ‘zastupaetsya’).

Although it’s the 17th century and the village is located in Novgorod lands, this isn’t the world we know. In the world of the zastupa, mysterious portals once opened on Earth, unleashing hordes of demons and other monsters. And while humans had long shared the land with other races like the navki and the white-eyed chud’, these new invaders permanently redrew the map.

Ancient Kyiv was besieged and destroyed, some peoples swore allegiance to dark powers and even founded their own empire near the Balkans. The Novgorod Republic managed to defend its lands and independence, though it still occasionally fights with both the Muscovite Tsardom and the Swedes.

People have learned, with great difficulty, to coexist not only with familiar beings like leshies and domovoi, but also with those who came through the portals — not all of whom turned out to be purely bloodthirsty. Even chorts (imps) have found a place in society, and in Novgorod they’re even honored, since it was the chorts who once saved the city. You can’t really trust them, of course — but with the right oversight, even chorts can be useful.

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Book: Henry Lion Oldie “The Door into Winter

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I read this book by Henry Lion Oldie exactly one year ago, just a couple of months after their wartime diary, Invasion. This book is a collection of science fiction stories, but all of them revolve around one central theme — the war in Ukraine.

And today, it is impossible to separate them from real events, no matter how much you try to convince yourself that it’s “just fiction.” Because this “fantasy” feels far too real, and all the speculative elements are simply a backdrop for what’s going on in the minds of the authors — and in the minds of many people right now.

Normally, I try to write thoughtful and fairly in-depth reviews of books, but with this one, I couldn’t bring myself to write anything substantial for an entire year. It always felt like whatever clever ideas or interpretations I might come up with, any metaphors or hidden meanings I could find, would all crash into the wall of reality — a reality more fantastical and terrifying than fiction itself.

Even in their stories, the authors include fragments of autobiography. In The Small Circle, there are brief excerpts from their real diary.

And in the story Those Who Follow Me, they describe a magical wall that shuts the world away from the horrors of Mordor. A few years ago, I would have read that as quirky sci-fi. But now I realize — this is a dream many people share. They truly want an impenetrable wall to keep Mordor out. For many, many years to come.

I considered writing nothing about this book at all. But in the end, I decided to limit myself to a short note. Not all of the stories struck me as strong pieces of science fiction — and I did try to evaluate the book as a work of literature — so my overall rating is lower than for other story collections, whether by Oldie or other authors.

However, as a kind of mirror to our era and this war, the book deserves a much higher score. It is a must-read. At the very least, to get a glimpse of how this is being experienced, and how it finds expression in literature, by those who have now lived with this war for three years. Where people are dying who never wanted to fight — and every month brings news of children killed, children who should only have ever learned about war from history books.

P.S. I’m sorry I’m not able to write a proper review right now.

My mark: 3.5/5

Book: Henry Lion Oldie “Invasion”

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About a year and a half ago, I wrote about Pavel Filatyev’s book, which was essentially an account of the first days of Russia’s war against Ukraine seen through the eyes of a Russian contract soldier. Even then, I wanted to believe that all this horror would soon be over.

But two years have already passed since Russia attacked Ukraine, and there’s still no end in sight. As a child, reading about the Great Patriotic War, I used to think that four years of that war was a whole lifetime. By that measure, Ukraine has already been at war for half a lifetime.

The initial shock has long since faded, and any hope of a quick ending is gone for good. And then a book came out by the remarkable Ukrainian authors Dmitry Gromov and Oleg Ladyzhensky, whom all fans of sci-fi know under the pen name Henry Lion Oldie.

Both authors are from Kharkiv — a city where, before the war, Russian was heard far more often than Ukrainian, even though its residents considered themselves Ukrainian. Before the war, Oldie were seen as purely Russian-language authors. They wrote in Russian, a language they command better than most Russians do.

But on February 24, 2022, war came to their home; Russian missiles and bombs began to fall on their city. And both of them, Dmitry and Oleg, started keeping a diary.

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Book: Stanisław Lem “Solaris”

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Stanisław Lem is a classic of Polish science fiction, hugely popular among Russian-speaking readers since the Soviet era, when we weren’t exactly spoiled for science fiction. Apparently that very status is what kept me from writing a review of Solaris for so long—because, shame on me, I only read it recently.

If Lem himself is a star, then Solaris is probably one of his most famous works—yet most people who know it do so through its screen adaptations. The best known is the 1972 film by Andrei Tarkovsky, starring Soviet actors Donatas Banionis and Natalya Bondarchuk. In 2002 the Americans made their own version too: Soderbergh cast none other than George Clooney in the lead. And there was also an earlier TV adaptation with Vasily Lanovoy, released four years before Tarkovsky’s version.

It’s worth noting that Lem himself treated the adaptations of this novel rather coolly, because, first, he couldn’t imagine how it could be filmed at all—and second, he really disliked the way directors chose to reinterpret his idea. He even quarreled with Tarkovsky, calling him a fool, and later said that instead of Solaris, Tarkovsky had made “Crime and Punishment in space.”

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Book: Olga Gromyko “Cyber Vacation”

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So the As*trobiologists series has hit a kind of anniversary, because Cyber Vacation is already the tenth (!!!) book in the series. And the further it goes, the more Olga Gromyko focuses on characters who, in the earlier books, only flickered in the background. Though you can’t really call Roger Sakai—now a police officer, formerly a buccaneer of the space seas—a truly second-rate character.

No, Roger was practically the main antagonist at the very beginning of the whole story. And after becoming a cop (well, who can catch pirates better than an ex-pirate?), he also popped up in the adventures that followed.

The new book is, on the one hand, a collection of novellas, each with its own small story—and on the other hand, one investigation that our dashing Roger has to carry out.

In fact, he came to the planet Cassandra—populated mostly by sentient cyborgs—not for work at all. He was planning to spend a pre-wedding vacation here, but at the last moment his fiancée couldn’t make it. So Roger goes looking for something to do, so he doesn’t just sit around twiddling his thumbs out of boredom.

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Book: J.K.Rowling, John Tiffany & Jack Thorne “Harry Potter and the Cursed Child”

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Harry Potter and the Cursed Child is, first, a play—and second, it was written with J. K. Rowling’s involvement, but still not by her alone. Both of those facts affect the way it’s presented. A play doesn’t really need vivid descriptions or direct access to the characters’ thoughts and feelings. You can’t show all that directly on stage; interpretation is the job of a specific director and a specific production. And having two co-writers as well also makes a difference.

Chronologically, the story begins almost exactly where the last novel of the main series ended—where, in the epilogue, we were shown the now-grown-up Harry, Hermione, and Ron seeing their children off to Hogwarts. Among them is Harry’s second son, Albus Severus Potter.

Up to this point, I hadn’t written reviews of any Harry Potter book. I mean, why would I, when tens (if not hundreds) of millions of people have read them already, so everyone knows what they are and what they’re about. But with this play I decided to make an exception.

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Book: Dmitry Glukhovsky “Outpost”

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I hesitated for a long time before picking up this book, because I have mixed feelings about Dmitry Glukhovsky, shaped by his Metro series. On the one hand, it’s genuinely a very interesting concept and execution; on the other, while I liked the first novel, Metro 2033, the second—and especially the third—mostly surprised me, and even disappointed me.

And even though I’d heard plenty of feedback about Outpost, I only got around to it after the war with Ukraine began, when almost everyone started saying that Glukhovsky had “seen it all coming” back then. That’s when I got genuinely curious: what exactly was it that Dmitry Glukhovsky supposedly predicted?

The novel opens by showing us a small settlement near a bridge across the Volga, by what used to be Yaroslavl. And now this is the very border of the state. Because at some point, a war broke out in the country, the mutiny was put down, but everything beyond the Volga can no longer be called inhabitable land, since some kind of weapon made it unfit for life. And the people at the outpost on the border are tasked with watching this single route into the cursed lands—just in case, so that no kind of nastiness crawls out of there.

And the lion’s share of the first volume is taken up by a description of life in this settlement—the remnants of all of Yaroslavl, where, judging by the description, only a few dozen residents are left alive, scraping by, somehow living, and even raising children. But the way this everyday grind is described, in my opinion, is drawn out too much. The plot moves very slowly, and all these abundant domestic details feel depressing at first.

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Book: Robert A. Heinlein “Orphans of the Sky”

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Well, since we’re on a classics streak, after the Soviet Those Who Survive it’s time to talk about Robert A/ Heinlein’s novel Orphans of the Sky.

Originally, the book was written as two separate parts, published independently as novellas in Astounding Science Fiction magazine back in 1941: Universe and Common Sense. Only twenty years later, in 1963, were the two novellas published together as a single work under the title Orphans of the Sky. Russian readers know the book as Stepsons of the Universe, as it was rendered as Stepsons by its first Russian translator, Yuri Zarakhovich.

For Soviet readers, the novel was first published in Zarakhovich’s translation in 1977 (incidentally, the year I was born), serialized across five issues of Vokrug Sveta (Around the World) magazine. I don’t know the exact reason, but for that magazine publication Zarakhovich produced an abridged translation. Nevertheless, it was this version that became the canonical one for many years and continued to be reprinted right up until 2003. Only in 2003 did a complete Russian translation of the novel appear, by Elena Belyaeva and Alexander Mityushkin. Neither of them were professional translators, yet their work still received an award. In addition to restoring the full text, they also slightly revised some terminology that had become “familiar” over decades of reprints of Zarakhovich’s version.

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