The Atlantis Gene (The Origin Mystery, Book 1) by A.G. Riddle, published by A.G. Riddle; © 2013
The Atlantis Plague (The Origin Mystery, Book 2) by A.G. Riddle, published by A.G. Riddle; © 2013
The Atlantis World (The Origin Mystery, Book 3) by A.G. Riddle, published by A.G. Riddle; © 2014
Science Fiction is replete with original, creative and amazing stories of the future and future’s past; Herbert’s feudal future checked by a hulking nematode in his Dune series; Asimov’s stories of future doom and mitigation in the Foundation series; Card’s tales of adolescent potency and adult deception in his Ender’s series. Riddle‘s Origin Mystery trilogy is not one of these original and creative stories.
The trilogy explores an alternate history of mans origins, portending a simple plot of who controls who and for what purpose, but quickly gets lost in extraneous details and insignificant sub-plots. Reading Riddle is the printed expression of ADHD, character development is stunted and dribbled out in brief disconnected chapters that come back together eventually, after they have slipped from your memory, only to bifurcate again; sub-plots within sub-plots within plots, tentacles going everywhere and nowhere, impulsively going off on tangents to explore another unnecessary point.
Originality and gifted writing does not live in this book. Most of the topics and plots have been done before and usually better. Dialog and narrative are 1 and 2 dimensional.
…Dorian rushed forward and struck Ares, killing him in one blow. The Atlantean hadn’t expected it, and Dorian fought like a feral animal with nothing to lose.
Striking one blow and fighting like a feral animal are not congruent actions.
…Dorian rushed forward, killing Ares again…The cycle repeated twelve times, and twelve dead bodies, all Ares…on the thirteenth resurrection, Ares stepped out and held up his hands…Dorian rushed forward and killed Ares again.
Occasional changing up the verbs keeps the monotony away and Live Die Repeat, the movie, already did this scene – creatively better.
Steven King’s greatest achievement, The Dark Tower series is a captivating and deliciously fun 5000 pages of dystopian fantasy that will go down as one of literatures greatest creative endeavors. The punitive sin in the entire series was the creation, the introduction of a new character, Patrick, the destroyer of Mordred, in the last 100 pages of the series, solving King’s plot dilemma with an eraser. Riddle pulls the same amateurish stunt towards the final chapters of his trilogy, introducing the god-like Sentinels, a deceitful writing ploy, but thankfully it euthanized the tale.
Riddle should have kept this to a single volume, forcing a simpler, crisper plot line.