You might call Isambard Smith the Anti-Flashman, though the covers at first seem similar. But look closely at that cover. Does Smith have a scantly clad woman draped around his leg? No, he's standing victorious over a dead foe. Proper.
Smith is about as different to Flashman as you can get. He's not a womanizer, a coward, or a bully for one (well, three) thing(s). About the only thing they have in common is a decent mustache. But Smith isn't a larger than life hero without flaws. Outside of a good fight he's downright awkward, especially around members of the opposite sex. But he also embodies everything we're meant to see in the British Space Empire - noble and refined, with its citizens carrying a stiff upper lip and not dealing with things like "feelings" in public. Dreadnought Diplomacy is alive and well. When one speaks of "civilizing" an alien culture, it refers to how the iron fist is used if talking sensibly to the silly buggers didn't work.
Smith's long time friend is a Morlock (or M'Lak) called Suruk the Slayer (Doom Purveyor, Son of Agshad Nine-Swords, Grandson of Urgar the Miffed). The M'Lak look vaguely like a thin version of the Predator but their personality better fits the "noble savage" archetype from classic adventure literature like King Solomon's Mines
To act as a foil to Smith and Suruk are two women: Pollyanna Carveth, a fugitive sex toy masquerading as the ship's pilot, and Rhianna Mitchell, a New-New Age hippie herbalist from the American Free States (think California). Despite the fact she is so unlike Smith - or perhaps because of it - he can't help but fall head over heals for her, nor can he help but blow almost every opportunity he has to score with her.
Like Terry Pratchett's Discworld series, parody and satire infuses much of the novels. Frost pokes fun at the Martians from H.G. Wells, the trenchcoats and sunglasses in The Matrix, and everything in between. While these parodies sometimes stick out as a little obvious in the first novel, by the second Frost has found his rhythm and the references are more seamlessly interwoven with the narrative.
The series is set in a future where the British Empire has risen once more, and with it an aesthetic throwback to late colonial England. The architecture is New Gothic, ships are designed with brasswork cogs and levers, and while the computers have normal displays, numbers are often displayed with rotating dials and a handy ticker-tape that prints out relevant information.
Wrath of the Lemming Men starts off with the death of Suruk's father by Colonel Vock of the Yull, a race of rodent warriors that incorporate everything suicidal about warrior cultures in history (there is as much World War I general in them as Kamakazi pilot). The Ghast have made an alliance with the Yull, and Colonel Vock, disgraced in battle, has been assigned to Ghast 462 to try and capture the mystical Vorl for their genetic experiments. Smith and his crew have to stop them, but to do so they have to figure out what the hell is going on first, which takes them in and out of several dangerous locations.
In all the Space Captain Smith novels you can be assured of lots of laughs, tons of movie and book references, awkward romance, and a jolly good kick up old Gertie's backside. I'm particularly impressed how Frost has avoided the temptation of making the battles like an episode of G.I. Joe (where lots of shots are fired yet nobody gets hurt) just because it's a comedy.
(I also reviewed the first and second books in this series, Space Captain Smith, and God Emperor of Didcot, so there is some overlap here)
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