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A review by storyorc
The Blade Itself by Joe Abercrombie
adventurous
dark
emotional
funny
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
This book is funny! Not (often) slapstick or anything but the humourous tone had me questioning its frequent filing under 'grimdark'. Abercrombie does commit to being more realistic about things than your average blockbuster but consistent depressing results quickly become just as predictable as a hero snatching victory from the jaws of defeat and this novel was anything but predictable! Abercrombie has an inspiring habit to resolve his character's tests with neither simply triumph nor defeat but a secret third thing; a triumph or defeat with a twist that acknowledges, then elevates the tension that brought the character to that initial test.
In terms of the larger plot, I could have used a little more predictability. Only Jezel had a clear climax to his narrative in the Contest (which was built to with a very effective subtlety, even in the others' POVs). Glokta benefits from the mystery plot inherent to an inquisitor and Ferro is handfed her goals but Logen is truly just along for the ride. At one point, he even turns down an offer to learn the goals of the people he's helping - a telling character choice, but less so for establishing stakes and something to look forward to. The strength of his characterisation mitigates this but in a book that is almost 600 pages, it cannot do so entirely. I have read that the entire book is setup and, while its vibrant characters do a good job concealing that, I do agree.
And those characters really are vibrant. Prior to reading The Blade Itself, I wouldn't have believed you could make me kick my feet and giggle over a torturer but Glokta is startlingly likeable. He even lampshades it a little, saying something to the effect of 'the worse the man, the sadder his story must be', but his humour, intelligence, and doggedness also play a huge role. Being surrounded by idiots who are either cruel or vapid helps. He is admirable for his perseverance and intelligence, but realistically hampered when he runs into more skilled players. I applaud how Abercrombie is not only unafraid to let him fail but also able to glue his dignity back together after.
Glokta aside, Ardee is a delight, Logen is clever and dependable (though it does feel like we are meeting him at the end of his redemption arc), and I even like Jezel. (Can't defend that one, he's just exactly the kind of character that I find so entertaining to write). Like Glokta, they enjoy nuance: Ardee is confident but her judgement runs questionable, Logen is dependable but still frightened in combat and there is a limit to his sense of responsibility, Ferro is half-feral, and Jezal has moments of genuine bravery and earnest feeling. Abercrombie's talent for characterisation extends to his secondary and even tertiary characters too; there is a masterclass paragraph wherein Glokta meets the faculty of a university and, with only a single clause of description per character, they leap to life not only visually but as people with their own interior lives and faults.
The scenery gets similar treatment. I can't in good conscience call the prose efficient, what with all the endless list of details, emotions, quick actions. (And no final 'and in sight.) However, I have such strong impressions of the North and the city of Ardua that I feel like I could pick them out of a travel brochure. He avoids White Room Syndrome by striking a balance between a character's interior voice and what they note about their surroundings. Again, he goes overboard on the clause lists at times, but for the most part he is able to pick out just enough details to give, or remind, us of what atmosphere they are currently ruining their lives in.
In terms of the larger plot, I could have used a little more predictability. Only Jezel had a clear climax to his narrative in the Contest (which was built to with a very effective subtlety, even in the others' POVs). Glokta benefits from the mystery plot inherent to an inquisitor and Ferro is handfed her goals but Logen is truly just along for the ride. At one point, he even turns down an offer to learn the goals of the people he's helping - a telling character choice, but less so for establishing stakes and something to look forward to. The strength of his characterisation mitigates this but in a book that is almost 600 pages, it cannot do so entirely. I have read that the entire book is setup and, while its vibrant characters do a good job concealing that, I do agree.
And those characters really are vibrant. Prior to reading The Blade Itself, I wouldn't have believed you could make me kick my feet and giggle over a torturer but Glokta is startlingly likeable. He even lampshades it a little, saying something to the effect of 'the worse the man, the sadder his story must be', but his humour, intelligence, and doggedness also play a huge role. Being surrounded by idiots who are either cruel or vapid helps. He is admirable for his perseverance and intelligence, but realistically hampered when he runs into more skilled players. I applaud how Abercrombie is not only unafraid to let him fail but also able to glue his dignity back together after.
Glokta aside, Ardee is a delight, Logen is clever and dependable (though it does feel like we are meeting him at the end of his redemption arc), and I even like Jezel. (Can't defend that one, he's just exactly the kind of character that I find so entertaining to write). Like Glokta, they enjoy nuance: Ardee is confident but her judgement runs questionable, Logen is dependable but still frightened in combat and there is a limit to his sense of responsibility, Ferro is half-feral, and Jezal has moments of genuine bravery and earnest feeling. Abercrombie's talent for characterisation extends to his secondary and even tertiary characters too; there is a masterclass paragraph wherein Glokta meets the faculty of a university and, with only a single clause of description per character, they leap to life not only visually but as people with their own interior lives and faults.
The scenery gets similar treatment. I can't in good conscience call the prose efficient, what with all the endless list of details, emotions, quick actions. (And no final 'and in sight.) However, I have such strong impressions of the North and the city of Ardua that I feel like I could pick them out of a travel brochure. He avoids White Room Syndrome by striking a balance between a character's interior voice and what they note about their surroundings. Again, he goes overboard on the clause lists at times, but for the most part he is able to pick out just enough details to give, or remind, us of what atmosphere they are currently ruining their lives in.