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4.13 AVERAGE
4.13 AVERAGE
In this installment (unfortunately the most recent for the past decade) the readers finally meet the infamous "her" that Lock has been hung up on for the previous two books. I loved how Lynch integrated this character into the story in both timelines, current and past from which this book derives its name. lynch excels in building and expanding upon character relationships which he does so well in this one, somehow adding even more depth to the friendship of Locke and Jean. If Lynch ever continues the series, I will preorder the sequels as soon as possible.
adventurous
challenging
dark
emotional
mysterious
sad
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
No
I do think this is the best of these novels, from a certain perspective. It's the first time where the dueling narratives each felt impactful and interesting. So while I think, at this point, Lynch really needs to get past this flashback structure, he does manage it best here. But, really, over the 2,000 or so pages of these three books, I would say somewhere between 300-700 pages of this series covers Locke's childhood/adolescence.
Which makes me wonder: Why didn't Lynch just begin this series in childhood? We have at least one good sized novel of content here scattered across the first and third novel.
Having said that, the flashback narrative kind of doesn't matter at all, which brings me to what is a growing problem for me this series. Everything is always too easy. Locke and his compatriots face death and disaster, of course, but they are also always in possession of just stupid amounts of money. In a world where money is power, it feels like a real weakness here. Especially because this novel puts them in the first really powerless position I'd argue they've been in. But what happens almost immediately?
They're handed a stupid amount of money.
Everyone also just seems so willing to be their friend, to buy into their plotting (there's a plot device for this novel that tries to massage that would-be problem here into nonexistence, which is effective but also supremely dull), and so Locke and Jean (and Sabitha, I guess) are always in the driver's seat.
I mean, the previous novel had them as subordinates, but it reminded me of a TV show where the star of the show is meant to be the subordinate of a character with a four episode arc: our main character is still, somehow, always the most important person around and the New (temporary) Leader defers to their impeccable judgment, confides in them quite a lot, and just sees something oh-so special about them. And so even though Locke is just another random soldier, we also find him the real fulcrum and engine of everything in the plot.
My gripes aside (I have more, but I'll save them), this novel does just work the best of the three. I also might even like it the most, surprisingly, since it really does have the dumbest plot with some dumb angles to work at with the characters. But I think Lynch's love for his characters gets him a lot here. Same with him finally figuring out how to make his flashbacks work as their own narrative independent of the narrative in the present (double edged sword, that).
The novel just works and remains fun, even when it's dumb.
I still believe this whole series would be a lot better if Lynch wasn't trying to write epic fantasy with intricate and deep worldbuilding. He should have made these into short, tight volumes following the gang for specific capers and what not. But because we now have the expectation of big novels with a deepening and broadening world, the characters feel trapped into a Big Destiny when they should have remained bit players in that larger story.
This series always has me thinking of very old SFF like Conan the Barbarian. Short, fun stories that get in and out before you lose patience with the situation or characters. I think the success of Locke Lamora partly comes from the fun found in these novels and the caperesque nature of them. The problem is that Lynch has taken these fun ideas and turned towards maximalism with regard to his world. It's not enough that The Gentlemen Bastards be highly trained thieves who aim more at Nobles than they do at banks. No, they need to be The Best Thieves in the World.
So, yeah, I find the series a mixed bag. The good parts are great but the bad parts are tedious.
Which makes me wonder: Why didn't Lynch just begin this series in childhood? We have at least one good sized novel of content here scattered across the first and third novel.
Having said that, the flashback narrative kind of doesn't matter at all, which brings me to what is a growing problem for me this series. Everything is always too easy. Locke and his compatriots face death and disaster, of course, but they are also always in possession of just stupid amounts of money. In a world where money is power, it feels like a real weakness here. Especially because this novel puts them in the first really powerless position I'd argue they've been in. But what happens almost immediately?
They're handed a stupid amount of money.
Everyone also just seems so willing to be their friend, to buy into their plotting (there's a plot device for this novel that tries to massage that would-be problem here into nonexistence, which is effective but also supremely dull), and so Locke and Jean (and Sabitha, I guess) are always in the driver's seat.
I mean, the previous novel had them as subordinates, but it reminded me of a TV show where the star of the show is meant to be the subordinate of a character with a four episode arc: our main character is still, somehow, always the most important person around and the New (temporary) Leader defers to their impeccable judgment, confides in them quite a lot, and just sees something oh-so special about them. And so even though Locke is just another random soldier, we also find him the real fulcrum and engine of everything in the plot.
My gripes aside (I have more, but I'll save them), this novel does just work the best of the three. I also might even like it the most, surprisingly, since it really does have the dumbest plot with some dumb angles to work at with the characters. But I think Lynch's love for his characters gets him a lot here. Same with him finally figuring out how to make his flashbacks work as their own narrative independent of the narrative in the present (double edged sword, that).
The novel just works and remains fun, even when it's dumb.
I still believe this whole series would be a lot better if Lynch wasn't trying to write epic fantasy with intricate and deep worldbuilding. He should have made these into short, tight volumes following the gang for specific capers and what not. But because we now have the expectation of big novels with a deepening and broadening world, the characters feel trapped into a Big Destiny when they should have remained bit players in that larger story.
This series always has me thinking of very old SFF like Conan the Barbarian. Short, fun stories that get in and out before you lose patience with the situation or characters. I think the success of Locke Lamora partly comes from the fun found in these novels and the caperesque nature of them. The problem is that Lynch has taken these fun ideas and turned towards maximalism with regard to his world. It's not enough that The Gentlemen Bastards be highly trained thieves who aim more at Nobles than they do at banks. No, they need to be The Best Thieves in the World.
So, yeah, I find the series a mixed bag. The good parts are great but the bad parts are tedious.
adventurous
dark
mysterious
tense
medium-paced
Plot or Character Driven:
Plot
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
No
adventurous
fast-paced
This series started on such a high note that it proved impossible to keep the level. I am now caught up with the series and I’m not in a rush to continue (but neither is the author!).
adventurous
emotional
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
adventurous
emotional
medium-paced
adventurous
dark
mysterious
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes