Meanwhile there is another situation. When the work made noise, everyone admires it. A year passes, two, three, ten years, and the people continue to remember this wonderful world created by the author, her heroes who struck at the heart. Immersed with other people’s thoughts, open a novel and… nothing. You don’t experience the feelings you’ve been promised. This is exactly how it happened when to me, almost a quarter of a century after their release, the works of Maria Semyonova from the beloved “Volkodav” cycle of millions got into my hands.
Yes, it would be at least foolish to argue with the fact that Maria Semyonovacreated a very detailed, thought-out universe that is largely based on scraps of real history, contains at its core modified cultural traditions and mythology of the peoples of the world. She wrote pages as if she was painting paintings, not forgetting the little things that would surely escape the attention of another author. She didn’t forget to learn the basics of combat so that the bouts would be naturalistic. I did not dig deeper into the field of geology before sending characters to mine rocks. She was introduced to the basics of human psychology, and therefore her characters are not just clichés, which would be typical of fantasy.
But, let me, it’s still fantasy, not an alternative story with superstitions that come to life. And therefore the gods and goddesses roaming among men is, of course, beautiful. The concept of multiworldliness is not new, but always curious. The beginnings of magic – edaky must have. But shouldn’t magic be more than duels on swords and transformed and reinted mythology? Does the hero’s quest journeys not make sense to dilute with love branches, not just friendship and endless moral and ethical dilemmas in the style of Dostoevsky? Is it necessary to turn Volkodav into a superprincipled guy living exclusively in debt and forgotten literally about everything that does not make him better and does not exalt spiritually? Do the materialist readers need this spiritual exaltation when they could, along with the hero, have their home and a beauty wife emerging from a raspberry by the hand with a chubby baby?
If in the first two books the hero slightly surprises, but in general the reader follows the quest without going into emotional details, as he is quite passionate about events and still hopes for the best, then further it becomes obvious that the works do not get something very important that could be described by the metaphorical term “fairy tale”. Bonuses devoted to living in mines are too rigid and dry. A bunch of details from the field of geology make the world more realistic, but do not allow to dissolve in the story, truly feel the pain of the heroes, together with them to experience hopelessness, as emotional component is reduced in comparison to descriptive. And on the fourth book, it seems as if the author has written out. It is increasingly repeated, puts many ellipses, often refers to the writings of its colleagues working within the same world. As a result, continuous riddles and confusion against the background of all the same emotional dryness, fanatical desire for spiritual growth, complete asceticism in all things, grotesque principlicity and hyperdetail of the world . A number of lines seem unfinished. Others remain incomprehensible or simply illogical. And what started as a whole for health, as often happens, ended if not for rest, very dejected.
Bottom line? There is no desire to return to peace. I want something more feminine from a female author. There is a severe lack of love and magic in the blood, which should be immediately made up. And in the head is the desire to recommend writers to take an example with Maria Semyonova in terms of the ability to think about the details of the world, but not follow in her footsteps when it comes to the lines of relationships heroes and the creation of psychotics, so distant from modern ideas about bad and good that it is almost impossible to establish a connection with the characters.