One-word review: Extensive. Let's get one thing out of the way first: I haven't read The Dresden Files . I don't even really know what The Dresden Files are about. Bottom line, I'm incredibly intimidated by The Dresden Files . So, now that I've used the words "The Dresden Files" in four consecutive sentences, I will not be using them again. If you're looking for any comparison between Butcher's old (and much more famous) book series and this one, look elsewhere. Commence review: In my mind, there are three ways to write a book set in a new fantasy/sci-fi world. There is the rare standalone novel like Good Omens or Elantris , there is the exceptionally common trilogy-setup-where-the-whole-series-should-be-one-book (which, keep in mind, includes heavy hitters like The Fellowship of the Ring ), and, finally, there is the epic series starter. As far as books that I have reviewed so far on this site go, The Aeronaut's Windlass i
Why is it, so often, that spectacular books are weighed down by terrible cover art? I think that Tor may have realized this as well because this cover, the cover of the book that I read, is often replaced by other, significantly better covers. There is no coloring, no interesting object, and no facial expression that can save "main character stares blankly and dramatically ahead."
Regardless, I loved this book
In this book, we follow the alternating narratives (seems like every book I read nowadays has alternating narratives) of Laia, a girl who has lost everything at the hands of the "Masks," a group of soulless killers who are the head and arms of the governing "marshals," and Elias, who is, obviously, a mask. Laia, in order to help save her brother, is sent by "the rebellion" to spy on the school where Elias is being trained. And that is all I'm going to give you (trying to avoid spoilers here) because some of the best parts of this story are driven by, well, the story.
I saw in a review of a different book that suggested one could categorize fantasy stories into three categories: driven by the world, characters, or story. I initially really liked this division, because it seemed to work really well on the surface. But then I read stories like this one, that are so firmly driven by both story and character, that I just can't believe it's a useful distinction. That's the first point I want to give this story: I not only care about these characters (all of them! There's no total duds in this story!), but I also want to know what happens to them because I don't really know -- And that's awesome.
Take a different example from Beauty and the Beast. If this story were written as modern YA fantasy, it could have the expected ending (they fall in love and break the curse), or it could have a cool new twist (they don't fall in love and have to deal with the consequences). Ultimately, though, there are really only two possibilities and you're just kinda waiting for one to happen. This is also a spoiler for my upcoming review of A Curse so Dark and Lonely. In this book, I genuinely did not know what was going to happen to these characters whom, as I mentioned before, I was really invested in! And this is due to the three things that I think this book does really, really well.
1.) Flesh out side characters. There are a lot of great side characters in this story that have layers. Good layers. To be entirely honest, I was maybe feeling a little guilty about saying Griffin from A Promise of Fire, "genuinely might be the worst written character I've ever read in a book," because it's hard to make good characters from non-narrative perspectives. Now I don't, because Tahir proves that point entirely wrong. Even if we get past the spectacular job she does with Helene, even the "evil" characters, Marcus and Zacharias, have a little nuance to them beyond the Draco Malfoy caricatures they're supposed to be.
2.) DON'T PULL PUNCHES. I love a book with some gut, and this book gets DARK. I was praising Furyborn just a week ago for allowing its characters to do some dark things, and this book does it so much harder, and so much better. And, to top it all off, it doesn't do it until 75% of the way through the book - right when you've been lulled into the idea that this is just your classic YA fantasy romance. It also keeps the reader on edge as to what the characters will do next - when faced with grim decisions, it is far from immediately obvious what they will do.
3.) Characters change and grow, but slowly and naturally. Character growth in YA Fantasy often follows a formula, where a characters "doesn't know what came over" them, does something fantastically stupid and wildly out of character, then gains the ability to do said thing in perpetuity, and their character has changed. Characters change in this story through mental anguish, extreme circumstances, and constant introspection - and I love it. The Laia, Elias, Helene, and all the characters that start off in this book are not the same that end it, and every single transition feels natural.
This review does not mean I'm without my qualms with the book, but they are so, so small. I wish that the middle-eastern style feel that juuuuust barely peeked it's head up throughout the story was actually turned into some solid world building. I also think that the "treacherous path" in and out of Blackcliff is a bit of a cop out. But if I'm sitting here nitpicking perceived plot holes, then you know I've enjoyed the book.
Really, I can't recommend this book enough. It showcases the best of what YA fantasy has to offer within its current formula. This book doesn't break any barriers or leave the reader shocked at its deviation from the norm - it simply takes the norm and does it really, really well. It's the first book I've read on this recent kick that I immediately checked out the sequel, and am genuinely excited to read it. It's a rare series that can top (or even match) it's first book, so we'll see...
