Ravencry is the sequel to Ed McDonald’s absolutely storming
debut, Blackwing. Ravencry takes place in the same bleak, hard-edged world as
its predecessor, full of uncaring titans, mad magicians and a few people trying
to do the right thing. Or at least not do the wrong thing. Most of the time. If
the money’s good enough. If you’re here, chances are good you want to know if
Ravencry lives up to its legacy – and the short version is yes. It’s brilliant
- a tightly written, tautly plotted story of monsters, magic, betrayal and
murder, with action that kept me turning pages, and schemes that left me
wondering which of the unreliable characters I could trust.
A lot of Ravencry occurs in an urban environment, in
Valengrad, bastion of all that is morally grey , standing at the border against
the creeping horror of the Deep Kings. Valengrad is a pretty terrible place,
one with rot sitting at its heart. The city thrums with life like maggots
through a corpsecivilians moving between buildings in what seems like constant
rain, ruled over by an oligarchy which seems to regard the seething mass of the
populace as a mild inconvenience at best, and is outright repulsed by them at
worst. It’s a city living in a noir nightmare, where the shadows seem long and
constant, and are likely to hide a member of the state security apparatus. It’s
a place desperately in need of hope, and fertile ground for something new – a
semi-religious cult of the “Bright Lady”, which preaches egalitarianism and
social reform, a ray of searing light in a world inclined more toward the
darkness. It’s a change, but in a world where everything has a seedy
underbelly, onr I forced to wonder whether a city as vibrantly, horrifyingly
alive as Valengracan generate something as clean as hope.
We also get to see some more of the Misery, the blasted
no-mans land between the Deep Kings an our less than polished heroes. It’s a
Lovecraftian nightmare of shifting geography and altered perception, a space
where the dead walk and talk, where the phantoms of your past are likely to
pick up a rock and bash your head in. It’s a twisted, psychedelic place whose
haunts are both revelatory and deadly. It has the capacity to break people, and
if it doesn’t destroy them, is at least as likely to change them, to move a
person closer to themselves, and closer to a monster.
Several of the characters sliding between city and Misery
will be familiar as well. Galharrow, the gruff, pragmatic and brutal instrument
of higher powers is still here. He’s got a shinier belt buckle, after the
events of the last book, but is still the same man. That said, he’s now haunted
by the spirit of lost love, a man stalking the half-world in search of
truth.The man is now more driven, searching for something he feels has been
lost. That loss has also informed the character - perhaps because a lost truth
is worse than none at allGalharrow is still bitter, though with some of the
edge filed off, but instead feels like a man on a quest – a tarnished knight
seeking a grail of remembered affection, or at least emotional truth. This is a
man being emotionally torn apart before our eyes. The raw passion at the heart
of his dysfunction is terrifying in its honesty, and also in its effects. That
said, Galharrow is still a man willing to kick arse and take names, or,
preferably, shoot someone in the back whilst they’re asleep to solve his
problems.
Galharrow is backed by an amazing supporting cast. The
fabulous Nenn is his lieutenant, a hard-faced killer whose edges are softened a
little by the possibilities of romance, now that the Blackwing are a more
well-funded arm of the law. She’s still abrasive, delightfully sharp-tongued,
and unwilling to take any crap – but there’s also a suggestion of emotional
fragility under the armour which really
gives the character some heart. Then
there’s the rest of this found-family; the hyper-organised secretary, whose
competence keeps the entire enterprise afloat, and the teenage refugee
determined to follow her role model into the Blackwing service. Watching
Galharrow struggle with his feelings and approaches for both of these women,
both independent, prideful and willing to make their own decisions in spite of
him, is a delight. That their ‘family’ is filled out by a semi-psychotic mage
trapped in the undying body of a child – well, that’s just par for the course.
These are complicated, often broken characters, whose
emotional responses are crippled or channelled by traumatic past experience,
but also feel genuine, and feel human. They contrast interestingly with the
villains, whose competence is matched by an effort at inhumanity which is too
malevolent to be uncaring. Those who stand against the Blackwing are
skin-crawlingly vile, and I shivered in visceral disgust more than once.
The plot pulls from noir -
a twisted, byzantine string of plots, counterplots, misdirected truth
and outright lies. The central mystery is tightly plotted and compelling, and
kept me turning pages far too late into the night. It’s got everything: bizarre
magic. Treachery. Misunderstandings. Impressive displays of magic. Brutal
murders. Stabbings. This is the bleeding edge of fantasy, one which you’ll feel
leave a mark on you as you read it. It’s smart, and it will get under your
skin, so that you want to know what happens next, then spend pages with heart
in your mouth torn between trying to reach the end and not wanting it to end.
I guess that’s a quick way of saying, Ravencry is worth your
money. It’s a sterling sequel to Blackwing, one I’ll be thinking about for a
long time to come, and one I whole-heartedly recommend.
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