GOLLUM said:
Perhaps Terry or another Zelazny fan has read these and could pass on their comments.
Okay, I'll give my own answer for whatever that's worth...
I tried to read the first Betancourt Amber prequel, and put it down after 5 - 10 pages. It was obvious that Betancourt didn't possess Zelazny's magic with prose or storytelling, so for me, it was like reading a pale imitation of my favorite author.
Also, according to the storyline of the original series, Amber was created after Oberon and Dworkin fled the Courts of Chaos and established an island of order, Amber, at the other end of existence from chaos. The idea being, that order and chaos then balanced each other out like the opposite poles of a magnet. All of the shadow worlds, the parallel universes of the Amber series, came into existence as a result of the constant ebb and flow between the energies of order and chaos.
In the opening of Betancourt's book, however, Oberon isn't fleeing primordial chaos to establish a kingdom of order. He's riding in a coach in a Renaissance-type world like some sort of swashbuckling dandy. Question: If Renaissance universes or shadows exist, that implies a high degree of order. Why do Dworkin and Oberon need to escape from chaos to create Amber, if there is already oder in the universe? So Betancourt had about five pages or so to impress me, and he didn't. If you're going to do an Amber prequel, show me Oberon and Dworkin fleeing chaos, real chaos, to create order.
There's also the point that Zelazny, as I understand it, plainly stated that he didn't want other authors "playing in his universe." Such being the case, why the Betancourt books? That's like saying, "Because Amber is such a popular series, regardless of what Zelazny wanted, we'll wait until he's dead, and then come out with more Amber books anyway. Think of the money we can make."
The Betancourt books, from what I've seen aren't going to satisfy any true Zelazny fan. The best Betancourt can hope for is to reach new readers not that familiar with original series, or with Zelazny in general, and to build a new fan base for the prequel novels. I'd say that if he's successful, those readers would then become Betancourt's fans, not Zelazny's.
As to where I come down on this, I'd say leave classic sci-fi authors alone. If they invite other authors to write stories set in their universe, as Andre Norton did with the Witch World, or Asimov did with Foundation, that's one thing. If they say, "I'd just as soon not have other people writing stories about my characters or my worlds," I think those wishes should be respected, especially since no following author is ever going to sound like, or have the unique magic of the original author's voice.
Those are my thoughts at the moment. Best wishes, Terry