Jan Van Quirm wrote:My main gripe with it [...] is that it just won't bloody well end. The bit on Old Treachery was obviously the big culmination and of course has to end in a huge wrecking crash,
Jan Van Quirm wrote: but the goblins still get shipped out to Howondaland? Come on! I can more or less accept Stratford doing a runner from the wreckage, but why the hell would the rescued goblins not do exactly the same and leg it back upriver with Stinky at their head?
No doubt they are also as stunned as Vimes and the rest of the crew. They are also completely cowed from a lifetime of training to believe that the humans have the right to shove them onto the boat. It's very hard to overcome that kind of training. Meanwhile, Stinky was busy rescuing Vimes from being stomped on by an elephant. It's pretty clear that Stinky had a choice: Rescue the stunned goblins and lose Vimes, the only hope for rapid change, or rescue Vimes and depend on Vimes to rescue the other goblins.Jan Van Quirm wrote:they're completely cowed and suffering from motion sickness.
Jan Van Quirm wrote: like other people are saying the bit where they retake Stratford is just plain nuts, as if Vimes would be 'stupid' enough to apparently leave his only child unguarded in an unsecured cabin on a pleasure vessel with an escaped maniac at large? And then he gets away yet again ho hum *idly buffs nails*. It's not even sloppy, just very, very annoyingly predictable.
Jan Van Quirm wrote: the voice software Terry uses. His writing's changing because he doesn't have to explain things properly or, more importantly, 'think out loud' in exposition in narrative so much. Because he's dictating in effect it's all too reliant on dialogue and action so it's thump, this happens and thump, someone says this and thump someone does that and has to talk to somebody about what they need to do about it and you don't get the effortless internal thinking through in left field where most of Terry's best work comes out any more.
=Tamar wrote:P.S. Someone much earlier complained that Vimes was no longer the "law is everything" man he used to be. I just reread Feet of Clay and found an early passage where Vimes is thinking about Suffer-Not-Injustice Vimes killing an evil king: "History had wanted surgery. Sometimes Dr. Chopper is the only surgeon to hand."
Vimes's archenemy has always been Vetinari. The difficulty is that they have to work together, and that Vimes knows, having lived through the previous administrations, that Vetinari really is better than what they had before, and very possibly better than what they will have after Vetinari dies.simmonds91 wrote:Vimes is like pacman, he's constantly nomming, the walls being the law. TPratchett should totally give Vimes a new archenemy.... His twin brother!
=Tamar wrote:Vimes's archenemy has always been Vetinari. The difficulty is that they have to work together, and that Vimes knows, having lived through the previous administrations, that Vetinari really is better than what they had before, and very possibly better than what they will have after Vetinari dies.
raisindot wrote:[AVAST YE SPOILERS AHEAD]
I don't think that's an accurate statement. Vimes and Vetinari are not archenemies because neither one is trying to "put down" the other. They certainly don't hate each other; Vimes may not like a lot of Vetinari's political actions or the different ways that Vetinari manipulates Vimes to achieve his (Vetinari's) political ends , but Vimes also realizes that Vetinari represents the civil authorities to which he, as representative of The Law, must be subordinate.
raisindot wrote:Certainly if Vetinari went "Snapcase" on the city or broke the law Vimes would most likely arrest him (as he had to do in The Truth), but he would never force his way into the Patricianship because this would prove that "The Beast" had won.
raisindot wrote:Vimes' true archenemies are the aristocrats and shadowy power brokers who try to grab more power for themselves at the expense of the 'common people' of Ankh Morpork. That's one of his great internal conflicts--he likes to believe that he's not an aristocrat, but his elevation to peerage means he's one of them, whether he likes it or not. This conflict seems to disappear in Snuff, where he fully embraces his wealth and isn't against the aristocracy itself, only against those who abuse it for illegal or immoral purposes (like Lord Rust's son).
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