In The Dark Forest, however, the dialogue often includes a great deal of exposition (whatever exposition isn’t included in the narration). That’s not always a bad thing-plenty of books use primarily dialogue to drive the plot forward. Most immediately it’s obvious that this is a talky book. Once again, whether or not you enjoy this book will largely come down to your tolerance for “Big Idea” SF over interesting characters and stories. However, the actual story is obviously subservient to these ideas. His plots and characters attempt to engage with very thorny, complex issues of the human condition. As I learned in the first book, Liu is a writer of prodigious philosophical talent. The Dark Forest didn’t snag a nomination this year, but I still wanted to read it and discover what happens next in the Trisolaran crisis. Since then Liu Cixin’s sequels, already published in China, are making their way to English-speaking readers. Last year I read The Three-Body Problem, which you might recall ended up winning a little thing called the Hugo Award.
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