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Spoilers PIC: Firewall by David Mack Review Thread

Rate PIC: Firewall

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A found object from recently digging into the dark pit that is the storage shed of moving boxes. Back when Seven was new I had ordered something, don’t remember what or from where exactly but most likely it was on that well known auction site, Seven related no doubt but I don’t even remember what it was I ordered. What I do remember was that along with my order he also sent me some of his artwork, with compliments, one of which is currently my avatar. When I turned that drawing over, low and behold there was this picture…how did he know so long ago?
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I wanted there to be lots of room for each reader to see the character the way they wanted her to be.

Indeed. In my own work-in-progress, I describe my protagonist as having "a ponytail with a mind of its own," tied with a keyboard-print ribbon that her father (a job printer) produced on a "flexo" roll-label press, after much experimentation with different inks. And I describe her mentor as having short hair, its natural color a peculiar shade of platinum blonde that could go completely gray without anybody ever noticing. But I leave most of the rest to the reader's imagination. Sort of the way the sex scenes are written to leave everything to the reader's imagination. I have a pretty good idea in my head, of what my characters look like, but other than a few trademark traits, I don't force my thoughts about my characters' appearances upon anybody else.
 
I really liked the segment where Seven had to fight four scary anti-Borg, spider shaped battle bots - in my mind's eye it was an action sequence that was very similar to the Ghost In The Shell fight between the Major and the Spider Tank (but a bit more campy and flashy in tone like the Kelvin films).
I really liked that it gave even more insight into how much of Seven is borg beyond the superficial and the cortical implant that was always talked about, I had always wondered about it. Interspersing that within the fight (Seven is a force to reckon with!) was a nice touch.
 
I finished the novel juist now.
After TLE: Well of Souls, this is the second longest it has taken me from starting to finishing a Trek novel.
Well-written as always. Love the characterisations and ship lore.
I loved particular segments where something predictable seemed about to occur, only to be turned on its head. For instance, Tazgül could've left Zirat after depositing the spiders for good reason. But he recalled it's a trope for villains not to stick around the heroes' death. So he did and there was another solution to the conundrum. Later, when the Dauntless arrives, one would think Janeway & co jump to Seven and Kayd's aid and everything gets solved. I loved how Janeway and Seven had disagreements but it doesn't damage their friendship. It's so refreshingly free of melodrama.

What kept me from finishing the novel sooner is the harrowing PIC setting. Federation abandons sector, bankrolls warlord to lay waste to random worlds. The First Splinter timeline had the Borg apocalypse yet it remained a setting of cooperation and trying to make things better. The prime timeline is just plain cynicism, and I find that difficult to digest.

10/10
 
The First Splinter timeline had the Borg apocalypse yet it remained a setting of cooperation and trying to make things better. The prime timeline is just plain cynicism, and I find that difficult to digest.

The Novelverse also had the Tezwa coverup, the assassinations of two near-consecutive presidents, and the takeover of the Federation by a corrupt, fascist interim president in The Fall, not to mention all the stuff Section 31 pulled. Yes, the canonical UFP kind of lost its way to an extent after the Mars catastrophe, but it was due to an outside attack provoking fear and retrenchment, rather than arising from internal corruption as in the novels. So I really don't see how it can be considered more cynical.
 
I really liked that it gave even more insight into how much of Seven is borg beyond the superficial and the cortical implant that was always talked about, I had always wondered about it. Interspersing that within the fight (Seven is a force to reckon with!) was a nice touch.

Although we only catch brief glimpses of it in Voyager, with Picard itself, and in spin-offs like Firewall (where she takes out spider drones that few platoons of soldiers would survive against) we can see how extremely physically dangerous Seven truly is.
 
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But everyone died in Coda, so even if the First Splinter were preserved, if all the character deaths were permanent, than there'd still be no one to follow.

Besides, after Picard was announced, everyone flocked to this forum with "let the Litverse be resolved!" That's what Coda was, which I'll add they were under no obligation to provide. They could have just cut off that continuity due to it being overridden by canon, which is what everyone else in the same situation has done. Be thankful you got your wish.

And I say that as someone who has my own issues with Coda.

Why would people want the Litverse to be resolved? It had awesome books and one could've said "Okay, this is the Litverse and that is the Showverse." I mean, why does the Litverse have to be in Canon with the Showverse? It wasn't like that before.


Concerning "Firewall" - I have the novel at home, translated in German. Awesome read.
 
Why would people want the Litverse to be resolved? It had awesome books and one could've said "Okay, this is the Litverse and that is the Showverse." I mean, why does the Litverse have to be in Canon with the Showverse? It wasn't like that before.

On the contrary, tie-in novels are always obligated to remain consistent with screen canon as it exists at the time, though the reverse is not the case, so they often get contradicted retroactively. Usually, in that case, new stories simply strive to be consistent with the new canon rather than the contradicted tie-ins, though sometimes they find ways to pretend that the old stories are still valid within the updated continuity, even if certain details have to be glossed over (this was often the case with the Pocket novel continuity during the run of Enterprise, e.g. when we had to reconcile the novels' portrayal of the Earthlike planet Andor with the canonical depiction of it as an icy moon named Andoria). But you're right insofar as that there was never a previous effort to retroactively rationalize older, contradicted novels as some kind of alternate timeline in the meta-narrative vein that DC Comics pioneered in the '60s and '80s and that other franchises have recently become increasingly prone to do.

To me, though, "resolving" and "reconciling with canon" seem like completely different things. Resolving an ending series should mean wrapping up any unsettled storylines that need to be wrapped up, answering lingering questions that were meant to be answered, that sort of thing. A series's completeness within itself is a separate question from its consistency with an outside series. I would've been happy with a final novel or novels that just settled outstanding loose ends like that.
 
On the contrary, tie-in novels are always obligated to remain consistent with screen canon as it exists at the time, though the reverse is not the case, so they often get contradicted retroactively. Usually, in that case, new stories simply strive to be consistent with the new canon rather than the contradicted tie-ins, though sometimes they find ways to pretend that the old stories are still valid within the updated continuity, even if certain details have to be glossed over (this was often the case with the Pocket novel continuity during the run of Enterprise, e.g. when we had to reconcile the novels' portrayal of the Earthlike planet Andor with the canonical depiction of it as an icy moon named Andoria). But you're right insofar as that there was never a previous effort to retroactively rationalize older, contradicted novels as some kind of alternate timeline in the meta-narrative vein that DC Comics pioneered in the '60s and '80s and that other franchises have recently become increasingly prone to do.

To me, though, "resolving" and "reconciling with canon" seem like completely different things. Resolving an ending series should mean wrapping up any unsettled storylines that need to be wrapped up, answering lingering questions that were meant to be answered, that sort of thing. A series's completeness within itself is a separate question from its consistency with an outside series. I would've been happy with a final novel or novels that just settled outstanding loose ends like that.
Thank you for the explanation. And funny, you bring up the DC-Comics-Situation, since I thought, that the Litverse started to be something like that - solo-novels being released and then everything meets up in a big crossover-event at the end of the year. In all honesty: I think, that would've been an amazing addition to the Showverse, but that's just me.
 
Why would people want the Litverse to be resolved? It had awesome books and one could've said "Okay, this is the Litverse and that is the Showverse." I mean, why does the Litverse have to be in Canon with the Showverse? It wasn't like that before.


Concerning "Firewall" - I have the novel at home, translated in German. Awesome read.
Because there's the, to me, weird rules in place Christopher summarised.

As to the Litverse, most of the time when there's a reboot the razor comes down, stuff's left flapping and is never returned to - see pre-Disney SW, DC with the New 52. We can quibble about the execution and plots and all but those three books were unusual.

The Novelverse also had the Tezwa coverup, the assassinations of two near-consecutive presidents, and the takeover of the Federation by a corrupt, fascist interim president in The Fall, not to mention all the stuff Section 31 pulled. Yes, the canonical UFP kind of lost its way to an extent after the Mars catastrophe, but it was due to an outside attack provoking fear and retrenchment, rather than arising from internal corruption as in the novels. So I really don't see how it can be considered more cynical.
This got me thinking as to why my response differs between the two and I think it's the medium difference. In books I'm sketching out the scenes in my head and can increase it decrease things, take the edge off - TV doesn't really allow me the same latitude, so it's sharper and hits harder.

Until now I hadn't put the pieces together.
 
Because there's the, to me, weird rules in place Christopher summarised.

Nothing weird about it. The job of tie-ins is to emulate and promote the main series. If a new series comes along, it will create new fans, some of whom will check out the books and will expect them to be recognizable as the universe they watch in the main series. It's only weird if you make the mistake of assuming that the pre-existing novel audience is the only target. A commercial franchise can't thrive if it doesn't attract a new audience.

It's the same reason that the reverse happens in comics -- the canonical comics often adjust themselves to resemble whatever mass-media adaptation is currently popular, or adopt characters created for adaptations like Jimmy Olsen, Harley Quinn, or Agent Coulson, because movies or TV (or radio or newspaper comics in the old days) have a wider reach than the comics themselves. So the comics adjust themselves to be recognizable to the new audience that comes in from the adaptations.

I also like to point out that all science fiction is eventually contradicted by new discoveries or the simple passage of time. When that happens, new SF stories adjust to the new reality instead of clinging to disproven ideas like Venusian jungles, or to outdated predictions like cities on the Moon in the 1980s. Tie-ins work the same way, except the new information they adapt to comes from screen canon.
 
That lay-out works much better for me, thanks.

What made it confusing to me is Trek already has the structure of TV / Film = core stuff.

Due to that games, comics, books, audio, they can all do their own thing.

That all makes sense to me, this lot over here, that over there, pretty much separate things.

What wasn't was the need for that sort of one-way link between them to current TV / film.

Haven't posted here in ages and two Trek mysteries / areas of confusion get cleared up for me in record time, bonus
 
That lay-out works much better for me, thanks.

What made it confusing to me is Trek already has the structure of TV / Film = core stuff.

Due to that games, comics, books, audio, they can all do their own thing.

That all makes sense to me, this lot over here, that over there, pretty much separate things.

What wasn't was the need for that sort of one-way link between them to current TV / film.

Haven't posted here in ages and two Trek mysteries / areas of confusion get cleared up for me in record time, bonus
That's what I was thinking, too - I mean, it's nice to have the Novels be in Synch with the TV Series - or movies - but personally, I'm like "I'd rather have the books have their own canon, while the TV series and movies have their own".
 
Kudos to David Mack for this novel. I'm a big Seven fan - mostly because of Voyager and Christie Golden's and Kirsten Beyer's relaunch novels. While I prefer litverse Seven over Picard-Seven (because of her social skills and the fact that she was - after some difficulties - finally accepted in the Federation), Seven's private live as portrayed in Picard along with Seven becoming the person she is now after Voyager's return to the AQ now makes completely sense to me. Seven's ability of self-reflection is outstanding. Considering the circumstances she faced, I can see her becoming the battle-hardened person we now can see in the show. Her friendship with Harper was great to read. Not sure what to think of Seven as Captain of the Starhip Enterprise G later on. Seven's and Janeway's friendship is a constant both in litverse and Picard. Also the queer topic is handled well (Seven simply is hot for everyone;))

Just one thing is for sure: I'll keep on reading David Mack novels/books......:techman:
 
Awesome. However, if I click the link, at least *I* get an error: Fehlercode: PR_END_OF_FILE_ERROR

By the way - in the bookstore in my hometown, which I regularly visit, I can say, that they are spectacularly bad at having Star Trek books. Lots of Star Wars books, Harry Potter, no problem - but just one Star Trek book, and - good Sir? I can proudly say: It's the one you wrote. I don't buy it, because I already did so around christmas 2023, but it's there. Star Trek Picard - Fenris Ranger - by David Mack. Don't ask me, why the German title is "Fenris Ranger", I don't know, honestly.
 
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