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Lyn's Reviews > Death Masks
Death Masks (The Dresden Files, #5)
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On a field in Knebworth, the GODS OF ROCK AND ROLL gather to be cool and to discuss Jim Butcher’s 2003 Dresden Files novel Death Masks.
Page: It was arcane and occult with clear references to ancient Christian relics and artifacts and I enjoyed it.
Bonham: The action was good, Harry and me could be mates, he’s a truculent and bold lad, but also aware of his limitations and that’s what makes him even the more brave. I don’t hold with vampires and he’s against ‘em and I like that about him.
Plant: Butcher can supply this whole lotta mystic realism where there is magic and gods and sorcerers but it’s also real life and with real troubles and concerns besides. Some may not ken to the corny one liners, but it’s that kind of personality that will keep me coming back. The Chicago setting with links to other earthly and interdimensional spots is also right on.
Jones: Butcher is a righteous bloke and I like him.
Bonham: When I died in 1980, the ideas of vampires were still very much old world, not the kiddy glitzy stuff getting’ writ these days and Butcher has dialed into that darker and more brimstone notion. He’s got Harry fighten’ ‘em, and squarin’ wit other underground ideas and that’s what makes me say, “Mr. Butcher, Mr. Bonham would like to buy you a pint.”
Page: Right, Butcher has the urban fantasy script locked in, it’s like he’s got a connection to something holy. The inclusion of the shroud of Turin and the whole Red Court of vampires versus the White Council of Wizards and then also the Knights of the Cross – it’s almost akin to epic fantasy.
Plant: At first I think of Immigrant Song, but there’s also Stairway with the mysticism but then also Kashmir. But you’re right, Jimmy, about the epic quality, like a modern day urban fantasy saga that also makes me think of Achilles Last Stand.
Jones: True. The darkness and sobriety inherent in Butcher’s writing is very much like the tone of our Presence album.
Page: It was arcane and occult with clear references to ancient Christian relics and artifacts and I enjoyed it.
Bonham: The action was good, Harry and me could be mates, he’s a truculent and bold lad, but also aware of his limitations and that’s what makes him even the more brave. I don’t hold with vampires and he’s against ‘em and I like that about him.
Plant: Butcher can supply this whole lotta mystic realism where there is magic and gods and sorcerers but it’s also real life and with real troubles and concerns besides. Some may not ken to the corny one liners, but it’s that kind of personality that will keep me coming back. The Chicago setting with links to other earthly and interdimensional spots is also right on.
Jones: Butcher is a righteous bloke and I like him.
Bonham: When I died in 1980, the ideas of vampires were still very much old world, not the kiddy glitzy stuff getting’ writ these days and Butcher has dialed into that darker and more brimstone notion. He’s got Harry fighten’ ‘em, and squarin’ wit other underground ideas and that’s what makes me say, “Mr. Butcher, Mr. Bonham would like to buy you a pint.”
Page: Right, Butcher has the urban fantasy script locked in, it’s like he’s got a connection to something holy. The inclusion of the shroud of Turin and the whole Red Court of vampires versus the White Council of Wizards and then also the Knights of the Cross – it’s almost akin to epic fantasy.
Plant: At first I think of Immigrant Song, but there’s also Stairway with the mysticism but then also Kashmir. But you’re right, Jimmy, about the epic quality, like a modern day urban fantasy saga that also makes me think of Achilles Last Stand.
Jones: True. The darkness and sobriety inherent in Butcher’s writing is very much like the tone of our Presence album.
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Reading Progress
April 27, 2017
–
Started Reading
April 27, 2017
– Shelved
April 29, 2017
–
Finished Reading
