That man is Ruslan, the sole known surviving human being in the universe. As had happened many times before, the basest, most primal human instincts rose up, only this time armed with the advanced scientific knowledge to create a genetically engineered smart virus that quickly wiped out humanity to the last man. Once Homo sapiens reigned supreme, spreading from star system to star system in an empire that encountered no alien life and thus knew no enemy. “A provocative read.”- The Washington Post I just feel sorry at the loss of such an opportunity for a good science-fiction story.The last known human searches the galaxy for companionship in a brilliant standalone novel from the legendary author of the Pip & Flinx series. I’m not looking for anyone to blame, in fact. The book is based on a story by Sean Clark, which probably wrote it with several other people from LucasArts. And to top it all, to make the happy-end perfectly happy, even the dead are brought back to life. A one-page solution to an age-old problem just doesn’t cut it, let alone the fact that the solution is not convincing. However, once the humans in the story realize that problem, it is solved within minutes - after the Cocytans themselves have attempted to solve it for millennia.
Never since Snow-White and the Seven Dwarfs have I encountered such a mushy, sweet, happy-ever-after ending to a book! All along the plot, the reader realizes (too fast, in my opinion, but never mind that) what the problem of the Cocytans (the alien race) is. And most of all, the feeling of a puzzle-after-puzzle, one small problem to solve after another, that is so typical to this kind of games.īut what disappointed me most was the ending. All objects have uses which are critical to the plot.
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Too much of the plot is based on an adventure-game like series of events - an object is found, kept, and used. There are other, more subtle cases that show all too painfully that the book is based on a computer game. I don’t know about you, but to me, this sounds like a plain description of the game’s user interface! They shifted and turned with him so that they were always visible no matter where he happened to be in the room. Glowing labels hovered above or in front of many displays like convocations of fireflies participating in some lampyriaecous military tattoo. Some were enclosed in flowing transparent cocoons fashioned of material like spun sugar. In chapter 11, we encounter the following description:īack inside the spire, he began to examine more closely the bulges in the walls and, in particular, various alien devices that rested inanimate in corners or clustered together on the bare floor. (It should be noted that I have not played, or seen, The Dig as a computer game.) However, in this case, the result is a little awkward.
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And indeed, the writing is fluent and enjoyable the style is Foster’s typical script-based style, allowing you to easily recall the sights of the movie if you’ve seen it before, or imagine how they look like if you haven’t. Writing a book based on a computer game should be nothing special for him. He wrote books based on numerous movies, including Star Wars (as a ghostwriter for George Lucas), the Alien series, and many others. The computer game, by itself, was a major production: inspired by Steven Spielberg and produced by George Lucas’s company, LucasArts, it includes special effects by Industrial Light and Magic, dialogs by Orson Scott Card, and so forth.Īlan Dean Foster is a good writer. This book was very intriguing for me because it’s somewhat of a first: a science-fiction book based on a computer game.