In the immediate sequel to Outland, our heroes continue to deal with the aftermath of the Yellowstone eruption, and the challenges of setting up a colony in the alternate timeline of Outland. Given that the majority of the existing inhabitants of “Rivendell”, as the refuge has been named, are of university age, a sudden influx of older refugees creates significant tension. The older generation feels that they should take over what they see as an amateur operation run by youths. Additional subplots include a sociopathic killer, and research to find other potential timelines that might offer escape hatches or resources.
While the second installment is still entertaining, it doesn’t have nearly the same punch as the first book. Mr. Taylor skillfully weaves the plot, but some of the elements seem tacked on as filler. It lacks a definite direction, and seems more like an extended coda for the first book.
University engineering students Mike and Bill are approached by physics students who need their expertise to continue experimenting with quantum tunneling and parallel universes. The experiments turn out to be more successful than expected, opening up a big can of worms. They can now open portals to alternate timelines, with different conditions, for example, one where dinosaurs did not go extinct, and one, which they name “Outland”, where mammals are prevalent but humans seem absent. A pastoral paradise of sorts. Meanwhile, Erin, a geology student, and Mike’s girlfriend, is caught up in unprecedented events at the Yellowstone caldera, which seems poised to erupt, potentially causing widespread destruction. Due to university politics, the quantum tunneling team decide to clandestinely move their research off-campus, while disassociating themselves with the university funding stream. What started as an academic project becomes a get-rich stream, and then rather unexpectedly morphs into an escape hatch for refugees.
The concept and usage of the portals is very well realised, with a slew of interesting applications that have to be improvised as conditions “Earthside” change dramatically. The adventure story parallels to Stargate SG-1 are obvious, and references by the characters themselves. While the protagonists are likable and it is easy to root for them, they are not very three-dimensional. On a side note, this is very much the young white American apocalypse, even if one of the main characters is Indian. I suppose it can be explained away since the setting is a university in Nebraska. That criticism aside, I found this to be a real page-turner just like his other books, with Mr. Taylor’s fast-paced plotting and the constant witty snark highly entertaining.
The third installment of the series sees Chip and Pete in charge of their respective toddler daughters as their wives go out. An outing to see “old man” (Nikola Tesla) quickly turns nasty as Chip’s daughter Gigi inadvertently creates a paradox that threatens the multiverse.
This is by far the weakest of the three books. The books were never meant to be hard science fiction with internal consistency, but the meandering plotlines and repeated deus ex machinas quickly lost me. The recurring theme of Chip and Gigi’s love for each other lends a great deal of heart to the book, as does, again, Chip’s voice as the narrator. Pete’s adorable badass great-aunt is also a great addition. However, in the end, there was no feeling of dramatic tension, even with the ostensible stakes. While this final (?) installment ties up many of the threads, it was not a satisfying conclusion.
After the events of Where the Hell is Tesla, Chip is just enjoying life with Julie. But developments are afoot in the multiverse, as a substance soon dubbed the “Blue Juice” starts doing bad things. Chip’s best friend Pete has disappeared. Together with non-nonsense FBI Agent Gina, Chip must once again step forth to save the Universe(s).
Like the first book, this one is almost entirely in the form of emails and memos to Julie. The format works well with Chip’s character and is littered with tangents and verbal double-takes. Another fun romp, even though some of the novelty of the first one is obviously missing.
There exist universes parallel to ours, in which the evolution of life on Earth took a different branch, a different path. And sometimes, rifts and passageways open between these universes. Mal and Lee are unlikely lovers, investigating he paranormal and cryptozoological. They find a portal to another world, and Mal disappears, only to reappear years later in the company of stocky, Neanderthal-appearing companions. Julian Sabreur is a counterintelligence officer working with analyst Alison Matchell, initially protecting the scientist Kay Amal Khan, before their mission spirals out into the unknown. Khan’s work is classified and very much on the edge of science, and she is being drafted into a project far exceeding life on Earth. Lucas is a thug working for a magnate named Rove who seeks to dominate the multiverse, or that part which he can preserve. But Rove plays his cards close, and Lucas is unsure whether those plans involve him if he is no longer useful.
The story is complex and initially rather ponderous as great events are set up for later payoffs. Delightful interludes detail the development of life in various branches of the multiverse, on different Earths. The characters are finely drawn, coming effortlessly alive through Mr. Tchaikovsky’s flowing and irreverent prose. Descriptions are chiselled out of biting British understatement, both amusing and perfectly targeted.
The sheer ambition of the concept is breathtaking, and while Mr. Tchaikovsky does not achieve perfection, the fact that he manages to pull off the narrative at all is impressive in itself.
Deadbeat Chip lands a job at a warehouse full of desks. In one of the desks he finds Nikola Tesla‘s long lost diary, in which the inventor details a means of travel between multiverse dimensions. There is a portal behind a wall in the hotel where Tesla lived for before he vanished. Madcap hijinks adventure ensues, as Chip and his best friend Pete travel between dimensions, get into trouble, and embark on a heroic quest.
With shades of Bill and Ted’s Excellent Adventure, and reminiscent in style of Kurt Vonnegut, and Frederik Pohl, the story moves along furiously. The book is narrated almost entirely in the form of emails that Chip is typing to his ex-girlfriend Julie. The style is purposefully casual, giving an everyman’s view of events, peppered with profanity and digressions. Tons of fun.