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God of Clocks
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The gates to Hell have been opened, releasing unnatural creatures and threatening to turn the world into a killing field. In the middle, caught between warring gods and fallen angels, humanity finds itself pushed to the brink of extinction. Its only hope is the most unlikely of heroes ...Former assassin Rachel Hael has rejoined the blood-magician Mina Greene and her devious little dog Basilis on one last desperate mission to save the world from the grip of Hell. Carried in the jaw of a debased angel, they rush to the final defensive stronghold of the god of clocks - pursued all the while by the twelve arconites, the great iron-and-bone automatons controlled by King Menoa, the lord of the maze. But the strange fortress of the god of clocks is unlike anything they could ever have expected. And now old enemies and new allies join in a battle whose outcome could end them all...
Über den Autor
Alan Campbell, der an der Universität von Edinburgh studierte, hat sich bereits einen Namen gemacht als Schöpfer eines weltweit erfolgreichen Computerspiels und eine große Fangemeinde gewonnen. Die Kettenwelt-Trilogie ist Campbells gefeiertes literarisches Debüt. Heute lebt der Autor im Süden Lanarkshires und arbeitet an weiteren Romanen.
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9 von 9 Kunden fanden die folgende Rezension hilfreich
Alan Campbell: Same originality and same mistakes
5. Juni 2009
Format:Kindle Edition
The trouble and delight of reading Alan Campbell is you're never sure why he includes anything. While he avoids the downfall of so many authors, where you can tell who will live/die/emerge as a secret villian, Campbell spends too much time in this book distracting you with imaginative but pointless side stories. The real questions go unanswered: What is Rachel and Dill's relationship? What is Basilis? What is Ayen? While Campbell has done this before, introducing characters and plots then summarily abandoning them, this time he does not provide a compelling central storyline to follow.
In both books Campbell has delivered a satisfactory ending where although the reader is sad and only understands 60% of what is said, they are connected with the characters and are glad for those who made it out alive. In this book the reader understands 20% of what goes on, and only Rachel Hael is a fully developed person. John Anchor is turned from a tragic, saddened hero to a bloodthirsty avenger who's best friend is Cospinol. Harper serves no purpose and Mina is something of an empty person.
While Campbell once again brings mind-bending ideas to his world (the River of the failed, and the Temple Obscura) his conclusion almost insults the reader for being drawn in. The main events at the culmination of the book are not described (as in the previous two books), but are bypassed and then alluded to in the fashion of a very self-serious piece of literature. While Campbell may be trying to prove that life is conducted without omniscience and does not contain storybook endings, using the conclusion of a three book series to do that is a little selfish.
I enjoyed the book but it may take a while for me to stop resenting the ending.
In both books Campbell has delivered a satisfactory ending where although the reader is sad and only understands 60% of what is said, they are connected with the characters and are glad for those who made it out alive. In this book the reader understands 20% of what goes on, and only Rachel Hael is a fully developed person. John Anchor is turned from a tragic, saddened hero to a bloodthirsty avenger who's best friend is Cospinol. Harper serves no purpose and Mina is something of an empty person.
While Campbell once again brings mind-bending ideas to his world (the River of the failed, and the Temple Obscura) his conclusion almost insults the reader for being drawn in. The main events at the culmination of the book are not described (as in the previous two books), but are bypassed and then alluded to in the fashion of a very self-serious piece of literature. While Campbell may be trying to prove that life is conducted without omniscience and does not contain storybook endings, using the conclusion of a three book series to do that is a little selfish.
I enjoyed the book but it may take a while for me to stop resenting the ending.
6 von 6 Kunden fanden die folgende Rezension hilfreich
A disappointing finale to a great series
7. Juli 2009
Format:Gebundene Ausgabe
Twelve powerful arconites walk the earth, preparing to bring about the destruction of humanity and bringing its souls under the command of Menoa, Lord of Hell. Ahead of their advance, assassin Rachel Hale, blood-witch Mina Greene, the angel Dill and the god Hasp retreat towards the castle of Sabor, god of clocks. Meanwhile, Cospinol, god of brine, decides that he must mount a direct assault on Menoa and orders his slave-champion, John Anchor, to pull him and his immense vessel into Hell, for a very strange voyage indeed...
God of Clocks is the final volume of The Deepgate Codex (possibly the most misnamed trilogy ever: the titular codex is mentioned a couple of times and plays no substantive role in proceedings at all). It picks up after the cliffhanger ending to the second volume and expectations were for a big, epic climax. Instead, we get something different.
This is an odd book. Campbell's grasp of character and plot remains strong, and the revelations of backstory mysteries are mostly effective. But there are long diversions and side-plots that ultimately don't seem to go anywhere. The introduction of time travel is intriguing - fantasy typically doesn't touch it with a bargepole - and there's a lot of humour going on, but ultimately the narrative becomes confused and self-destructs towards the end. Time travel is often used as a get-out clause for lazy writers, something I'd never have pegged Campbell as (based on the strength of his first two novels), but here it fulfils its all-too tempting deus ex machina, narrative-crutch role. Simply put, the revelation that there are billions of alternate timelines in which every possibility is played out does make the reader wonder why he should be caring about this particular timeline and story. Even worse is the danger that time travel can be used to undo all the events of the story so far, meaning that the losses and prices that our heroes have paid are simply wished out of existence. Whilst the ending doesn't quite go that far (it's ambiguous what does get changed and what doesn't), it's still a bit of a cheat.
God of Clocks (***) is a disappointing finale to the trilogy, which started out superbly but seemed to lose focus and cohesion as it went along, before ending on a decidedly anti-climatic note. There's enough interesting characters and ideas here for the book to be worth reading, but ultimately this is a trilogy that does not deliver on what it promised in the first book. It is available now in the UK and USA.
God of Clocks is the final volume of The Deepgate Codex (possibly the most misnamed trilogy ever: the titular codex is mentioned a couple of times and plays no substantive role in proceedings at all). It picks up after the cliffhanger ending to the second volume and expectations were for a big, epic climax. Instead, we get something different.
This is an odd book. Campbell's grasp of character and plot remains strong, and the revelations of backstory mysteries are mostly effective. But there are long diversions and side-plots that ultimately don't seem to go anywhere. The introduction of time travel is intriguing - fantasy typically doesn't touch it with a bargepole - and there's a lot of humour going on, but ultimately the narrative becomes confused and self-destructs towards the end. Time travel is often used as a get-out clause for lazy writers, something I'd never have pegged Campbell as (based on the strength of his first two novels), but here it fulfils its all-too tempting deus ex machina, narrative-crutch role. Simply put, the revelation that there are billions of alternate timelines in which every possibility is played out does make the reader wonder why he should be caring about this particular timeline and story. Even worse is the danger that time travel can be used to undo all the events of the story so far, meaning that the losses and prices that our heroes have paid are simply wished out of existence. Whilst the ending doesn't quite go that far (it's ambiguous what does get changed and what doesn't), it's still a bit of a cheat.
God of Clocks (***) is a disappointing finale to the trilogy, which started out superbly but seemed to lose focus and cohesion as it went along, before ending on a decidedly anti-climatic note. There's enough interesting characters and ideas here for the book to be worth reading, but ultimately this is a trilogy that does not deliver on what it promised in the first book. It is available now in the UK and USA.
7 von 8 Kunden fanden die folgende Rezension hilfreich
More great Deepgate lunacy - mild spoilers
18. April 2009
Format:Gebundene Ausgabe
A definite improvement over Iron Angel, but not as strong as Scar Night or Lye Street, God of Clocks brings the Deepgate Codex to a pretty rousing conclusion. Minus Deepgate, of course.
Campbell's world grows ever more inexplicable, with a return to the bizarre hell of Iron Angel (more convincing and less self-indulgent this time, although not without those truly peculiar moments that make you think "...why? what's the point?"), and time paradoxes galore.
This time, the story is tighter and more focused, and thankfully, the angel Carnival - in my opinion this series' most fascinating character - has a role much expanded from her disappointing cameo in Iron Angel. The setpieces are as cinematic and unhinged as ever, the pace breakneck (I read this in three short sittings), and the humor as twisted as ever.
Said setpieces can be a little over-the-top at times: one example being when cheerful giant John Anchor runs across a ghost-collecting little girl living in a grass-and-pony-filled submarine and working for the remains of an old series villain who is now in a box on wheels, leaving you to wonder what goes through the author's head - particulary when most of this weirdness is just taken in stride by the characters. Still, its all part of that deranged Deepgate charm that has really grown on me, and that I will certainly miss now that its over.
The ending, unfortunately, felt very rushed, though I find this is a fault of many series' in their final act.
All in all, unsatisfying ending aside, I found this to be much a much stronger and more involving entry in the series than Iron Angel. Alan Campbell is a highly original voice in fantasy, and I will definitely be following his post-Deepgate career eagerly.
Campbell's world grows ever more inexplicable, with a return to the bizarre hell of Iron Angel (more convincing and less self-indulgent this time, although not without those truly peculiar moments that make you think "...why? what's the point?"), and time paradoxes galore.
This time, the story is tighter and more focused, and thankfully, the angel Carnival - in my opinion this series' most fascinating character - has a role much expanded from her disappointing cameo in Iron Angel. The setpieces are as cinematic and unhinged as ever, the pace breakneck (I read this in three short sittings), and the humor as twisted as ever.
Said setpieces can be a little over-the-top at times: one example being when cheerful giant John Anchor runs across a ghost-collecting little girl living in a grass-and-pony-filled submarine and working for the remains of an old series villain who is now in a box on wheels, leaving you to wonder what goes through the author's head - particulary when most of this weirdness is just taken in stride by the characters. Still, its all part of that deranged Deepgate charm that has really grown on me, and that I will certainly miss now that its over.
The ending, unfortunately, felt very rushed, though I find this is a fault of many series' in their final act.
All in all, unsatisfying ending aside, I found this to be much a much stronger and more involving entry in the series than Iron Angel. Alan Campbell is a highly original voice in fantasy, and I will definitely be following his post-Deepgate career eagerly.
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