The Grim Company is the first in Luke Scull’s series of the
same name. In a world with dead gods, those who killed them now rule in their
stead, sometimes with subtlety, and sometimes with a hammer. In this system of
semi-oppressive rule, we follow several individuals who are, in their own way,
rebels. There’s monsters, there’s (quite a lot of) close quarters swordfights.
There’s blood everywhere. Mad wizards, bad wizards, and mad bad wizards. It’s
quite an adventure, somewhat reminiscent of Fafhrd and the Grey Mouser, with
less lyrical prose and more stabbing.
The world – well, as mentioned above, it’s one which is
broken. Centuries prior, a cabal of powerful wizards stormed the gates of the
realm of the gods, and cast them down – quite literally – into the world below,
taking their lives in the process. The mages returned from their jaunt into the
celestial somewhat changed, and quickly seized control of various parts of
their world, drawing power from the corpses of the divinities that they struck
down. In the current time of the novel, the world is, perhaps, not faring as
well as it might. The rulers of several
cities are in a state of near-war, each looking for a new source of magic to
fuel their rule. At the same time, malformed monsters are coming out of the
cracks in the world, and terrorising villages and towns, The average citizen is
struggling to comply with whatever dictates come from their rulers, as those
rulers are all that are keeping them from being devoured by the monsters – and
those rulers are eccentric, to varyingly lethal degrees.
Scull’s world is by no means a happy place. But in its
hard-edged dreariness is the occasional sparkle. The shine of a magical spear
as it punches through a monstrosity, or through the chest of a dissident. The gleam
of the scales on a dragon, before it sets a village to flame. There’s an
intertwining here, a sense of the beautifully grotesque, which made for an
intriguing read. There’s also a sense of history to the places that Scull shows
us – nations which have been under the same rule for centuries have a sense of
being reshaped. Temples are decaying or eliminated, and there’s a sense of
liquid history, of the victors rewriting perceived reality for their own
purposes. Exactly what happened in the past is opaque, but it’s left a big mark
in the world of the Grim Company. It’s a sad world of broken majesty and one
that makes a terrifying kind of sense.
The characters – well, we see a fair few, but the most
memorable are the duo of battle-hardened, now almost pension-drawing northern
warriors, and the youth who believes he’s the one chosen to overthrow his
magelord – and has the arrogance, middling ability, and flat out luck to keep
that belief fed. The world weary duo are a thoroughly enjoyable read – a fusion of competence, talent and experience
with a gradual awareness of physical infirmity, and, in one case, a certain
level of moral flexibility. The two of them interact well together, one a more
compassionate, but still practical, foil to the potential inhumanity of the
other. Scull sets out a portrayal of loyalty and loss with these two, and it’s
one which is vividly plausible.
The more youthful hero-figure is perhaps less familiar, and
more prone to averting tropes, but still skilfully drawn. Having been told
through childhood that he is a hero, chosen for great things, he believes it
entirely – and has the youthful arrogance this leads to. He’d come off as a
nasty piece of work, but as events begin to unfold, and his heroic talents are
put to the test, he’s so dreadfully hapless as to be more amusing than
annoying. What Scull’s done here is throw in the stereotypical hero archetype,
but then laced it through with the flaws and difficulties that make a hero more
human. It’s a less complex portrayal than the northern duo, but one which is no
less convincing or enjoyable.
The plot’s main focus is split between our barbarian duo,
acting to disrupt a magical mine, and the efforts of the Young Hero to
overthrow the magelord of his city. The two threads come together and disperse
again occasionally, and both are compelling in their own way. I won’t spoil
either, but would note that there’s some wonderful character introspection,
betrayal, murder, a surprising amount of entirely non-prescription drugs,
sieges, and more than one horrible monster.
Overall, the text is
a fairly fast-paced adventure piece, with some excellent character development
inside it. I’m looking forward to reading the sequel, and I’d recommend this
one if you’re in the mood for a fast, gritty, fun fantasy adventure.
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