I tried. Got about a third of the way into the first book, they were out on the sea having nautical adventures, chasing some ship or something, this didn’t seem to come to any kind of conclusion, chapter ends, another chapter begins, and the next chapter begins with Aubrey in mid-conversation with characters that haven’t been introduced in a setting that hasn’t been mentioned. I started picturing Russel Crowe standing in a black void talking to two store mannequins with paper bags over their heads, then a bunch of giggling upside down Russel Crowes started raining down in the background like that one trippy cut scene in Twilight Princess and I was kind of done.
The author has the energy to describe what a t’g’ns’l sheet does in full Ye Olde Bullshite Talke but does not have the energy to establish a setting change between chapters and I refuse to develop the patience for that.
I’ll fully admit I bounced off the writing style. It felt like reading a Shakespeare play in which the characters occasionally stop to discuss in technical detail the design and construction details of a nearby windmill. It’s not just written in ye olde timeye, it’s written in technical ye olde timeye. It was written in technical ye olde timeye by a guy in the 1960’s, so it’s not only weirdly 250 years out of date, it’s also weirdly 50 years out of date. It’s amazing how much the use of single quote marks throughout threw me.
I also got a third of the way through the book and didn’t notice a plot? It seems to be a series of barely connected anecdotes. Like there’s a scene where they encounter a plague ship, and the doctor wants to row over and help, and “must protest” when the Captain says no, and the Captain quickly hauls him to his cabin and says “You really mustn’t protest, that would be seen as insubordination and I’d have to have you shot.” Plague ship is interesting world building, the exchange between the characters is interesting character building, and then with no transition whatsoever Jack is being gently escorted from an officer’s ball because he’s drunk and about to say something permanent. What the?
The film starts with the text of the Captain’s orders: Go sink or capture this ship." That remains the Captain’s mission throughout; everything that happens in the movie is an attempt to, or consequence of, trying to take the Acheron, give or take a couple related side plots like the doctor wanting to study the wildlife or the midshipman with bad luck. It’s easier to get and maintain a grip on what’s happening.
Someone should have warned you to start with book three, but I’m sorry if you can’t follow the book that’s not likely to be fixed by skipping to when Riker grows his beard.
I tried. Got about a third of the way into the first book, they were out on the sea having nautical adventures, chasing some ship or something, this didn’t seem to come to any kind of conclusion, chapter ends, another chapter begins, and the next chapter begins with Aubrey in mid-conversation with characters that haven’t been introduced in a setting that hasn’t been mentioned. I started picturing Russel Crowe standing in a black void talking to two store mannequins with paper bags over their heads, then a bunch of giggling upside down Russel Crowes started raining down in the background like that one trippy cut scene in Twilight Princess and I was kind of done.
The author has the energy to describe what a t’g’ns’l sheet does in full Ye Olde Bullshite Talke but does not have the energy to establish a setting change between chapters and I refuse to develop the patience for that.
Ooh a rare example of a film better than the book, eh?
They’re both very good in different ways.
The film is a lot more accessible than the books.
I’ll fully admit I bounced off the writing style. It felt like reading a Shakespeare play in which the characters occasionally stop to discuss in technical detail the design and construction details of a nearby windmill. It’s not just written in ye olde timeye, it’s written in technical ye olde timeye. It was written in technical ye olde timeye by a guy in the 1960’s, so it’s not only weirdly 250 years out of date, it’s also weirdly 50 years out of date. It’s amazing how much the use of single quote marks throughout threw me.
I also got a third of the way through the book and didn’t notice a plot? It seems to be a series of barely connected anecdotes. Like there’s a scene where they encounter a plague ship, and the doctor wants to row over and help, and “must protest” when the Captain says no, and the Captain quickly hauls him to his cabin and says “You really mustn’t protest, that would be seen as insubordination and I’d have to have you shot.” Plague ship is interesting world building, the exchange between the characters is interesting character building, and then with no transition whatsoever Jack is being gently escorted from an officer’s ball because he’s drunk and about to say something permanent. What the?
The film starts with the text of the Captain’s orders: Go sink or capture this ship." That remains the Captain’s mission throughout; everything that happens in the movie is an attempt to, or consequence of, trying to take the Acheron, give or take a couple related side plots like the doctor wanting to study the wildlife or the midshipman with bad luck. It’s easier to get and maintain a grip on what’s happening.
Someone should have warned you to start with book three, but I’m sorry if you can’t follow the book that’s not likely to be fixed by skipping to when Riker grows his beard.
Funny. You. Should. Say. That.
There’s no doubt the series has its accessibility problems. I wish you could feel what I felt when I first read it. Alas.