The only thing that made the “Metro” Glukhov good – it is firmly screwed to the real action of the novel scheme of the Moscow metro. Literally. Geographically. Guidelines in the form of stations and crossings. The index finger in the process of reading itself stretches to the back cover page to it on the printed circuit track the movement of the characters. Here, by the way, we just cant expect, still by publishers – scheme-it would not hurt to print and larger and clearer.
And the legend it is also
But with the text font size is no problem -. He big and clear. In general, signs of “books for the book,” in addition to font size and margin widths in this text are more than enough, and that is bad, most of them are not decoration properties, and is, unfortunately, within the text.
The very form of presentation, “road-Story” (knows, by the way, somebody correct Russian analogue of the term?), when all that makes heroes – it moved from one point to another, it is extremely fertile for delaying action – to the novel turned thick, and not some out there povestushka.
And this predisposition Gluhovsky form uses to the fullest. Instead of a “point” in the previous sentence straight asks “location” is so strongly associated the book with computer games – come to, to shoot, kill someone (or killed), again go, come, I will fly (literally, in the hospital) – more went. p>
But, in contrast from computer games, usually rigidly attached to any to any story, from the fantastic characters move on the subway without any meaningful purpose, and, moreover, every time they this purpose, it would seem, reach (urrra!), the goal is false.
And the new, “along the tracks, on the Siberian road” to another decoy, and a new round of the plot, which again will not result in any characters, or the reader. First – nothing, they live in the author’s will, and the latter are forced to read a lengthy and unconvincing explanations and wide-eyed, watching rolling out (no, not out of the bushes) from the tunnel armored train. Incidentally, this was the second time in my reader’s practice, when I cry threw himself from a book (aaaaaaaa – ISPs – hryas!), So outrageously blatant banality was the author of turn. (First case on “Loneliness in the network”, on the stage, where the terminally ill all medical guide beloved main character is killed by an excavator. Or a bulldozer? Erased already, thanks to Allah).
If you have read this far ( which is strange), then you pay attention to the plural “Metro 2034” heroes. This is not because I do not want a spoiler, but because of it, the principal – at least three. Or none at all, because the author is trying to write to us instead of one bright portrait of three bright portrait osilivaet not at all. And we get three pale shadows, burdened, in addition, the load of its own memories (uninteresting) and own philosophy – boring, unoriginal, and even filed something like this: “action – action – pause – flashback – philosophy”. Agree, when the genre text you accurately calculate the philosophy and the second time easily flip through the pages to her not to read, it’s a lot about the author’s literary skill?
But I have not enough of these dances. I’ll go more and the atmosphere, which is regularly put in the “plus” that the first “Metro” 2033-mu, the latter of which we are. Actually in the first paragraph I said about the atmosphere – the subway. Nothing more. Everything else that has been undertaken Glukhovsky in this sense, seems strange and implausible. Here you are, now, in 2009, the year, answer me a simple question: do you know what “indelible pencil?” You ever seen an indelible pencil? They are holding it in your hands? We wrote them? And the fantastic, in 2034-m, people take an indelible pencil in hand and mark them something in the diagram. I understand the pullback on 100 years ago in a cataclysm. I do not understand a set of century-old artifacts. Including an armored train.
But the clear motivation of the author. And crystal clear prospect of “Metro 2035”, 2036, 2037 and so on.
Do not read.