Jon Wallace (thingaboutchickens.blogspot.co.uk)
In the near future, humans create the Ficials, an engineered race of post-humans who are designed – optimised – for specific tasks, and who are virtually indestructible. Under the central command of Control, the Ficials rise against their human creators, and begin a country-wide cull. Following a nuclear strike, the Ficials retreat to the cities – barricades – while the humans, or Reals, take control of the countryside. Kenstibec, a Ficial, was optimised for construction. In this post-apocalyptic world, there is not much call for his skills, and so he drives a taxi, transporting fares between barricades through the dangerous Real-controlled countryside. His latest job is the transport of a celebrity, a reporter, from Edinburgh to London.
When we first meet Kenstibec, it is in the form of a flashback, as he hangs in a recovery shed, regenerating from a serious injury in pre-apocalyptic Britain. This flashback, along with a series of others scattered throughout the book serve to give us some of the history which leads to the current state of affairs, and shows a rapid decline from ideal world to complete annihilation in a very short space of time. These flashbacks also serve as brief respite from the full-on action that defines much of the post-apocalyptic section of the novel. In this section, Kenstibec is a much different creature, whose optimisation has been forgotten in favour of driving a taxi, a job that comes with a certain amount of violence, to which Kenstibec appears to have taken quite easily.
There are elements here that we have seen before, from a wide range of influences: the Ficials probably most closely resemble Blade Runner‘s replicants, or the Cylons from the recent run of Battlestar Galactica – to all intents and purposes, indistinguishable from humans, except that, internally, their bodies and brains are wired slightly differently; there are elements here of 28 Days Later (the road-trip section of that film is almost certainly a forerunner for Kenstibec’s southbound dash) and of Robert McCammon’s Swan Song though, if anything, the aftereffects of nuclear and/or chemical warfare play an even more important part in Barricade than they do in that classic of the genre. But there is one vital twist to Barricade that makes it stand out, makes it something special: Kenstibec, through whose eyes we see this incredibly detailed world, is a Ficial, a man intent on the destruction – culling, as it is almost comically known to the Ficials – of the human race. It’s an unusual angle, like The Walking Dead from the point of view of the zombies, but despite the stiff and robot-like personality that lies at Kenstibec’s core, it’s an angle that works extremely well, and offers a fresh perspective on the genre.
Kenstibec has been compared to Richard Morgan’s Takeshi Kovacs. It’s easy to see why the comparison is made, but it’s a little too easy – and a little too trite – to compare the two. Despite the programming that drives him, Kenstibec has a unique outlook on life, coupled with a dark sense of humour and an almost-human desire for violence. Jon Wallace has pulled off quite a feat in his debut novel: he has created a character that is at once interesting enough to carry the reader along on the story, and also "underdeveloped" (not as a character, but as a person) enough to come across as not quite human. The contrast between him and the other Ficials, and him and any Reals we encounter, is interesting to watch, and shows that Kenstibec may well be a bridge between the two races, a man not quite one nor the other.
In the midst of all this action and world-building, Wallace still manages to take time out to poke fun at our current way of life, and at the cult of celebrity. Kenstibec’s fare – Starvie – has an interesting past that Kenstibec discovers when he sees a picture of her half-naked on the cover of a mens’ magazine; and when we meet the self-styled King of Newcastle, we learn that his celebrity in his former life is one of the main reasons for his elevated position in this one. These observations, through the eyes of a man designed not to be interested in such things, holds a mirror up to modern Britain and shows a somewhat unflattering reflection. Also included is a "god moment", which becomes inevitable from the moment Wallace introduces Dr Leo Pander, the man behind the genesis of the Ficial race, but the outcome of this meeting is not at all what the reader might expect and serves only to cement the impression we already have of Kenstibec.
At less than three hundred pages in length, Barricade is a refreshingly short and sweet addition to the genre, though it does little more than whet the appetite for the world. Whether Kenstibec will – or, indeed, should – be part of any further visits to Wallace’s post-apocalyptic Britain remains to be seen, but the world itself – and the history of how humanity reached this point – deserves a lot more investigation. I, for one, would welcome more of these bite-size chunks.
Start-to-finish action in a thoughtfully-constructed and thought-provoking post-apocalyptic Britain, Barricade introduces a brilliant new voice in the genre. With characters that we are drawn to, despite the fact that they would typically be the "enemy" in any other novel of this type, and a wicked sense of humour, Jon Wallace gives us a glimpse into one possible version of hell-on-earth that, in this world of constant technological advancement, could be just around the corner. Blistering pace and attention to detail (welcome to a world trapped in the midst of nuclear winter) combine to keep the reader engrossed and entertained. If you’re a fan of the genre, Barricade needs to be on your list, and Jon Wallace needs to be on your radar.