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The Irregular: A Different Class of Spy

H.B. Lyle

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As a boy, he spied for Sherlock Holmes. As a man, he must save the Empire. London 1909: The British...

Ross (3284 KP) rated The Change 1: London: Orbital in Books

Nov 2, 2020

The Change 1: London: Orbital

Guy Adams | 2017 | Science Fiction/Fantasy, Young Adult (YA)

7.0

(1 Ratings)

Book Rating

Intriguing but short

The world as we know it has pretty much ended. One day in the recent past, something appeared in the sky and anyone who saw it, or subsequent recordings of it, either died instantly or went mad gradually.
We meet Howard, who seems to have no memory prior to page 1 of the book, which serves nicely to give us an introduction to how the world changed in ... The Change. He assumes his name is Howard because it is written in the front page of a notebook he finds on his person.
He is moving around the M2 motorway that surrounds London, full of stationary cars (good to see some things didn't change when the world ended) and dead bodies, very reminiscent of early scenes in the Walking Dead.
He soon finds himself taken in by a biker gang who have made themselves a community in a former Welcome Break service station.
The community is attacked by an unusual monster and we follow him and his new best friend, Hubcap, as they try to survive.
The story is intriguing, but quite what happened with The Change, is barely touched on, and neither is Howard's strange amnesia and what he feels he needs to do (travel into London).
The action is exciting, the dialogue well written and the cast of bikers and hangers-on are well crafted. However, the book is so short and largely has no real plot as such, just a series of things happening, and the reader is left wanting more.
Not a childrens book as such, but safely young adult.

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Tom Chaplin recommended Bring It On by Gomez in Music (curated)

Bring It On by Gomez

1998 | Rock

(0 Ratings)

Album Favorite

"That would have come out in 1998 when I was around 17. My record collection at that point was mainly made up of U2, Radiohead, The Beatles, The Smiths. I hadn’t really been an indie kid in that sense of going to see bands and being part of that kind of world, because where we all grew up as a band, there just wasn’t a music scene at all! So we just spent our time making music, we never went to see much. Gomez is one of those total, bonafide, university, indie bands. It’s such an inventive record for a brand new band to burst onto the scene with. I loved the fact there were two singers with such contrasting voices. They’re all great songs, 'Here Comes The Breeze', 'Tijuana Lady'… it chimed in with where I was at the time, just getting out of school, smoking dope for the first time and experimenting with drugs. The album has that sense of youthful abandon. You can tell they were just fearless; maybe that’s what stopped them in the end from going on. I always feel that Gomez should have been a much more important band. I remember being up at University in Edinburgh, I got the National Express down to London one night, it was so uncomfortable, I got off at every stop and was getting smashed on this very strong weed and then going back on, and I had a proper old school Discman, and I was just listening to this Gomez record, up all night. I got to London, full of beans and was like, “We’ve gotta be this inventive!”"

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