I’ve been working my way through reading the “Sapphic Trifecta,” which I started earlier this year, but I had to halt because I was working on my final project for grad school. So far, I’ve finished reading 2 of the 3 books, which are amazing reads. However, do not expect reviews of them until after the New Year.
The latest audiobook I finished was the debut space opera by J.S. Dewes. The voice actors were brilliant!
What are you currently reading?
The third book in the Sapphic Trifecta (which was published first).
I just started this audiobook. So far, I’m enjoying this book A LOT more than Ready, Player One.
What will you read next?
So far, I’ve read Part I of this epic dark vampire fantasy. I’m looking forward to finishing it.
I started reading this series when the first volume was released and I enjoyed it! Think of DIE as a hybrid between Jumanji and Dungeons & Dragons, but with more trauma and graver consequences. I kept purchasing the volumes so I could keep up with the narrative. I haven’t read past the 2nd volume, so this will be both a reread and a read through. I want this to be the 1st graphic novel series I review on this blog. I am hoping to start reviewing graphic novels, manga and comics in the near future.
There are other books I will be reading throughout the end of 2021, but these are the books that have my upmost attention. I am closer to my aim for compiling a Top 20 of 2021 List, which will be interesting to put together. My Top 5 is starting to change and I know no longer which books will place there.
What are you trying to finish by the end of this year?
Published: January 21, 2021 Narrated by: Nikki Massoud
Still, she insisted that obsequiousness was part of the role, and no amount of correction from either Ren or Alta Renata could stamp it out. Sighing, Renata put in her earrings—formerly Letilia’s—while Tess retrieved ribbon, brushes, needle, and thread, and set to work, (2: The Face of Gold: Isla Prišta, Westbridge: Suilun 4).
There is a young adult portal fantasy series titled Stravaganza by Mary Hoffman. Each book in the series follows an unhappy teen who stumbles upon a magic talisman, which transports them to a world that is similar to 11th century Italy. In that world these travelers find others like themselves, and they help them fight against a family which is similar to the infamous House Borgia. In that series, both magic and alchemy are studied and practiced by the characters in secret from their enemies. This series was a fun read and it had me wondering why a similar series didn’t exist (where I had access to it). While The Mask of Mirrors, the 1st book in the Rook & Rose trilogy—by M.A. Carrick is not a portal fantasy set in Renaissance Italy, I could not help but make comparisons throughout my reading of this book to the Stravaganza series.
There are 3 protagonists who mingle within their social circles consisting of other characters. The 1st protagonist is Arenza Lenskaya—a.k.a. “Ren”—who is a con artist and a thief. She has just returned to Nadežra with her sister, Tess, after being away for 5 years. Back then, Ren, Tess, and their brother, Sedge, were planning on leaving their knot—group of thieves bonded by blood and by magic—when their leader, Ondrakja, killed Sedge as punishment. Ren poisoned Ondrakja as payback, and then she and Tess fled the city. Now, the 2 young women have returned with a plan: infiltrate House Traementis—one of the noble houses—as the long-lost niece, Alta Renata Viraudax, in order to swindle away some of their fortune for themselves to live off from. Tess will play the role as Alta Renata’s handmaiden while Ren will play the role as a young noblewoman. Meanwhile, Era Donaia Traementis, the head of the House, is unsure what to make of the vagrant who may or may not be the daughter of her willful sister-in-law, Letilia Traementis. At the same time, her children, Leato—who is around Renata’s age—and Giuna, are excited to meet their “cousin,” especially since there are rumors that their House is cursed. Renata mingles with members of the other Houses so that she can claim her “position” faster. She befriends House Acrenix, she angers House Indestor, and meets up with Derossi Vargo—a known crime lord and businessman—who has a proposition for Renata and House Traementis.
The 2nd protagonist is Derossi Vargo—known simply as Vargo. It should be mentioned that Vargo’s dealings are as unknown as the crimes he has committed in the past. Thanks to his network of knots, Vargo knows what Renata seeks, and he is willing to assist her, for a price. One thing the denizens of Nadežra know about Vargo is his ability to perform numinatria—a form of magic based on geometry (and gods)—which he learned from an “unknown” individual. On the side, Vargo continues operating his “business.” However, after an attack at one of his locations, Vargo sends out his best men to investigate. This includes: Nikory, Pavlin Rainieri—who works in the Vigil, the police force—and, another who has ties to Renata and Tess. Strangely, Vargo cooperates with the Vigil with this case and “other” ones.
The 3rd protagonist is Captain Grey Serrado. He is one of the leaders of the Vigil, and he takes his job very seriously. He is willing to investigate the crimes on the streets of Nadežra so that trust can build up between the Vigil and the denizens, especially the poor. For example, when children start going missing only to return claiming they can’t sleep, Grey meets with Arkady Bones—the boss of the largest knot in Nadežra—and asks her for information about it. At the same time, he is investigating the explosion which cause his brother’s—Kolya’s—death; and, Era Traementis wants Grey to investigate Renata’s “identity.” Later on, when another attack occurs, Grey begins to wonder whether or not everything could be connected.
All three protagonists find themselves involved in a conspiracy of politics and magic. Together with their friends and their allies, Ren, Vargo and Grey use their talents and their abilities to work towards their goals, and to save the city of Nadežra from destruction. The question all 3 are asking is: who is behind all of these crimes and why?
There are 3 plots in this novel—1 per protagonist. Ren is conning her way into House Traementis as a long-lost relative of theirs. When she learns that helping them with their financial troubles can give her what she wants, she agrees to meet with Vargo in order to keep up the con. When her plans begins to overwhelm her, Ren transforms into Arenza and uses her pattern deck—similar to tarot cards—to read people’s spirits and relationships while learning about the ongoings on the streets. Unfortunately, when Alta Renata Viraudax becomes sought out by several individuals, Ren begins to wonder whether or not she is in over her head. Vargo is trying to move beyond his criminal status so he can be recognized as the businessman he has worked hard to become. However, someone is using his reputation in order to blame him for the death of Captain Serrado’s brother. Not to mention, his “mentor” keeps directing him in the direction he wants Vargo to go in. Grey has a lot on his mind; and, the cause of his brother’s death is at the forefront. Then, children start dying in the streets and it isn’t from hunger or violence. And, of course, the noble houses are fighting amongst themselves, again. Grey wonders why no one is taking the deaths of the street children more seriously, until the reason presents itself to him.
Out of all of the subplots, 2 garner the most connections to the plots throughout the narrative. The first subplot is the magic used by the Vraszenians. Some have power to use numinatria, some use astrology, and some use a pattern deck. To non-Vraszenians, they believe much of the “magic” is based on superstition. However, too many unusual ailments—including a new drug—starts to affect everyone to the point where everyone begins to ask, who is powerful enough to stop it. The second subplot surrounds the figure of The Rook, the infamous outlaw from legend who offers “justice” to whoever needs it the most—usually the poor and the orphaned. Yet, The Rook finds himself in a bad situation. On the night Captain Serrado’s brother was killed, several witnesses reported seeing The Rook at the building. But, there is one thing which doesn’t add up: The Rook does NOT kill. So, what happened that night? There is a lot going on within the narrative, but the plots and the subplots develop at an appropriate rate so the readers can keep track of everything that is happening to all of the characters. The subplots are essential for the plot developments within this story.
The narrative is told in 3rd person limited from the points-of-view of Ren, Vargo and Grey. While each of the protagonists don’t know everything that is happening, the reader(s) know because they follow the events from their P.O.V.s and their streams-of-consciousness which are essential throughout the narrative. In addition, readers get a few passages from the P.O.V.s of some of the other characters, which allows for everyone’s thoughts and emotions to be known, which allows these characters to become more rounded. The sequence of the narrative can get confusing at times due to certain events being told and retold through someone else’s P.O.V., but this grants readers with the complete knowledge of everything that is happening at once. The memories, the flashbacks, and the visions are pivotal as well. The narratives are presented in a way that makes all of the characters reliable, and each one can be followed easily.
The style M.A. Carrick—the joint pen name of both Marie Brennan and Alyc Helms—use for The Mask of Mirrors resembles an urban fantasy mystery where both magic users and con artists and vigilantes are involved. All of the characters know something bad is about to happen, and the protagonists are doing everything they can to find out who is behind it and to stop it. Not to mention, someone is using magic to harm children; but, whose magic is powerful enough to do such a thing? Both the magic system and the world-building transports the reader(s) to a fantasy world which will remind them of something from 19th century Italy (and maybe France?). An argument can be made here that both Ren and The Rook are homages to the fictional character, Arsène Lupin (think Persona 5), the gentleman thief and master of disguise created by French writer, Maurice Leblanc. The allusion to Leblanc’s series is obvious to those fans. Will one protagonist solve the mystery before the others, or will all 3 protagonists find a way to work together? The mood in this novel is jeopardy. Every single character is risking themselves in order to survive and to continue to make their way in the world. The tone in this novel is executing actions in order to do what needs to be done. Each protagonist finds themselves in scenarios where they must ask themselves whether or not their desires mean more than those of (several) others.
The appeal for The Mask of Mirrors have been positive. A majority of the readers (so far) have given this book the highest praises. I would recommend this book to fans of the Hidden Legacy series by Ilona Andrews, the Chimera trilogy by Cate Glass, and any fantasy series with expansive world-building set within an urban fantasy world (i.e. City of Lies, Nevernight). I listened to the audiobook edition of this book, which was narrated by Nikki Massoud. Her performance, her voicing of all of the characters, and her pronunciation of all of the nouns made it easy to distinguish one from another. Thanks to her performance, I was able to keep track of everything that was happening throughout the narrative. Yes, this is a dense book, but it has a fast pace and the buildup to the events towards the end of this book will leave readers craving to read the next book in the series, The Liar’s Knot, when it is released at the end of 2021.
The Mask of Mirrors is one of the most underrated fantasy books of the year. M.A. Carrick presents a blend of fantasy and mystery within a world complete with nobles, vigilantes, magic users and characters who are trying to learn about themselves as they survive the madness within their city. Do not be intimidated by the size and the narrative style of the book. I promise you will fall under its spell.
The Subjective Chaos Kind of Awards 2021 has its winners! After 6 weeks of re-reads and voting, the judges–including myself–have voted on the winners from our finalists. If you need a refresher about what the awards are and what they are about, then you can read my previous post about it here.
First, let me say I enjoyed this experience A LOT. It was fun working and conversing with other bloggers–many of whom I knew beforehand–about our nominees and our votes for these awards. Second, I believe it’s safe to say whoever has to vote for any other literary awards (i.e. SFPBO, Hugo, Nebula, etc.), I have a better understanding on how there are times when you have to make a decision between 2 finalists so there is a winner. Third, NONE of my nominees won! But, that’s okay because there were cases where some of the other nominees were the better choices. Last, there were an even number of judges, so expect a surprise within one of the categories.
Here are the winners as voted by all of the judges. Each of the judges wrote a blurb as to why the finalist was selected as the winner.
BEST SHORT STORY: “You Perfect, Broken Thing” by C.L. Clark
“This is a story about an athlete competing in a race which forces her to push her sick body to its limits to win a cure. There’s a perfect blend of camaraderie between the main character and their training partners, and the desperate, unfair competition they are pushed into to survive; these are characters still fighting in the face of constant, overwhelming struggle and that’s a powerful, challenging, necessary thing.” -Adri Joy.
BEST NOVELLA: The Empress of Salt and Fortune by Nghi Vo
“The Empress of Salt and Fortune is an epic tale in miniature: a mosaic of moments and manipulations that resolve into a bigger picture of rebellion.” -imyril.
BEST DEBUT: Legendborn by Tracy Deonn
“Legendborn is not only one of the most creative reworking of Arthurian myth–making the corpus truly the author’s own–but also is is a tender exploration of grief and Black Girl Magic in a richly crafted world touching on slavery, privilege and secret societies.” -Fab.
“Based on the Second Sino-Japanese War (1937-45), R.F. Kuang’s trilogy starts off as an academic fantasy, transforms into a military historical fantasy, and ends as a grimdark narrative. This Asian-inspired series delves into the layers and the consequences of power and warfare.” -Misty306.
BEST BLURRED: Mexican Gothic by Silvia Morena-Garcia
“This stylish thriller blends Gothic tropes with 50s noir and body horror. Expect modern themes of prejudice and complicity in an unapologetically creepy tale of controlling families and psychedelic fungus.” -imyril.
BEST SCIENCE FICTION: The Space Between Worlds by Micaiah Johnson
“A beautiful intelligent story exploring the parallel worlds concept but also combining it with issues of racism, classism and yet also has a core of hope running throughout.” -Runalongwomble.
BEST FANTASY (TIE): The Midnight Bargain by C.L. Polk
“The Midnight Bargain is not only a wonderful story about witches in a richly imagined Regency-style setting, but also a clever exploration of reproductive rights and bodily autonomy. It is a thoroughly modern and political book while masquerading as a gorgeous escapist fantasy, and that makes it a fantastic read.” -Fab.
“Alix E. Harrow has crafted something truly special with this story. Her prose is by turns powerful and deft of touch, and blends together fantasy, fairy tales and history into a thoroughly modern classic.” -FLSchwizer.
I had an excellent time with this process and I am looking forward to participating again next year. That being said, yes I’m already processing what some of my nominees will be. Not to mention, the Best Series Category will be a very challenging one (you know why)!
Congratulations to all of the winners! I can’t wait to read your next written narrative! Excellent job judges! We’ll meet again for SCKA 2022!
NOTE: This post is a rewrite of an assignment I wrote for a graduate school course. If you would like to read the original essay, then click here. Also, this is written in APA Format.
Speculative fiction is the general term used when describing books which fall under the genres of fantasy, science fiction and horror, but contain elements of one or more of the genres, and/or contain elements from any of the subgenres. Speculative fiction can be described as: “fantasy, science fiction, and horror to their derivatives, hybrids, and cognate genres, including the gothic, dystopia, zombie, vampire and post-apocalyptic fiction, ghost stories, weird fiction, superhero tales, alternate history, steampunk, slipstream, magic realism, retold or fractured fairy tales, and many more,” (Oziewicz, 2017). Nowadays, it’s common to see more genre-blending books (i.e. historical fantasy, fairy tale retellings, romantic thriller, etc.), but defining the subgenres these books fall under is essential because readers need to know what they are reading. Just because a book is popular does not mean the reader(s) will enjoy other books from the same genre or subgenre.
One of the more recent examples of this is the subgenre grimdark. This subgenre emerged during the 1990s thanks to both George R.R. Martin and Robin Hobb, who wrote A Song of Ice and Fire and The Farseer Trilogy, respectively. Both authors “removed the idealism, cut out the pastoral myth and infallible heroes, and replaced them with mud, blood, shit, and a focus on the darker aspects of human nature,” (Fultz, 2018). The difference between Martin and Hobb is while Hobb used these elements during various points throughout her series in order to enhance her world-building and her characters, Martin used the same elements in order to drive everything within his series. Characters who are “good” die, “villains” continue to succeed, and everyone dies. When the adaptation of A Song of Ice and Fire—Game of Thrones—ended in 2019, many viewers were angry with how the series ended. However, what they didn’t understand was the subgenre of the books the TV show were adapted from wasn’t based on “traditional” fantasy tropes. “Grimdark does offer a bit more realism than your traditional epic or high fantasy,” (Speyer, 2019).
There are several definitions of grimdark and it’s difficult to select one definition. In fact, there is confusion between the subgenres grimdark and dark fantasy, and with the genre horror. In order to distinguish the three, indie author T. Frohock provides her definitions. “Horror is a story where the protagonist is helpless in the face of a supernatural threat. The protagonist seeks to destroy the supernatural threat in order to save themselves or others, but only when they are forced into a confrontation,” (Frohock, 2018). Authors of the horror genre include: Stephen King, Dean Koontz, T. Kingfisher, Stephen Graham Jones and Tananarive Due.
“Dark fantasy is similar to horror in that it is a story where the protagonist is helpless in the face of a supernatural threat. Unlike horror, dark fantasy tends to have a thread of hope running through the story. While at times being helpless, the protagonist generally wins in the end; although the cost (loss of friends/family or even their own innocence) will be great,” (Frohock, 2018). In other words, dark fantasy is a combination of the genres fantasy and horror. Authors of the dark fantasy subgenre include: Seanan McGuire, Jay Kristoff, V.E. Schwab, Leigh Bardugo, Evan Winter and Alexis Henderson.
“Grimdark is a story where the protagonist faces a supernatural threat, but s/he isn’t helpless against their adversary. Rather than run from the supernatural threat, the grimdark protagonist actively seeks to subvert or control it,” (Frohock, 2018). One reason grimdark stands out from other subgenres in speculative fiction because, “the antagonist can be as relatable, or if not more so, than the protagonists. And, you never know if the villain is going to be defeated or the book will end with the world in a worse shape than when it first started,” (Speyer, 2019). In other words, grimdark is the opposite of fantasy books written by J.R.R. Tolkien, C.S. Lewis, and J.K. Rowling. Authors such as George R.R. Martin, Joe Abercrombie, Mark Lawrence, Glen Cook, Anna Stephens, Gareth Hanrahan, Michael R. Fletcher and Rob J. Hayes write, “a more relatable form of fantasy. Psychology replaced ideology. Brutality replaced honour,” (Fultz, 2018). In all, grimdark can be summarized as: “a subgenre or a way to describe the tone, style, or setting of speculative fiction (especially fantasy) that is, depending on the definition used, markedly dystopian or amoral, or particularly graphic in its depiction of violence. In most grimdark literature the supernatural is a passive force, controlled by humans—unlike supernatural horror where the preternatural forces are most often an active entity with agency,” (Frohock, 2015). It should be mentioned that the violence depicted in grimdark include: rape, dismemberment, death, torture, all types of abuse, sacrifice, regicide, dark magic, vengeance, etc. This subgenre is not meant for everyone. If you cannot handle more than a few scenes of this sort of violence, then grimdark is NOT for you.
If anyone is interested in this subgenre of literature (especially after learning about the sort of stories they’ll be reading), then the following books and/or series should be read:
A Song of Ice and Fire (1996-Present) by George R.R. Martin
Dubbed as the series that began the subgenre, George R.R. Martin presents his story in a world where the landscape can kill you, where heroes don’t wear white (and villains don’t wear black), and multiple viewpoints which allows readers to comprehend where all of the characters are coming from, allowing for morally grey plotlines to present itself as the series continues. Fans continue to wait for the next book—The Winds of Winter—to be released.
The First Law Trilogy (2006-8) by Joe Abercrombie
This trilogy is the first series set in a world the author created using series of narratives, bleak and unforgiving plots, and the most relatable characters readers will come across throughout the series. Abercrombie is known as “the go-go author” (known as “Lord Grimdark” by fans) in grimdark. Not only are his books popular with grimdark fans, but also have crossed over into mainstream fantasy where readers of the genre can get an understanding of what grimdark continues to offer to the fantasy genre.
Empires of Dust (2017-19) by Anna Smith Spark
What starts off as a story following a band of mercenaries sent on a mission to kill a ruler of a wealthy, yet unconquered empire becomes a story about the harsh reality and the bleakness that comes with performing such a task. This series contains the same amount of political intrigue and maneuvering found in A Song of Ice and Fire, but matches the brutality found in Abercrombie’s books, which led to fans dubbing Spark the “Queen of Grimdark.”
Raven’s Mark Trilogy (2017-19) by Ed McDonald
This series follows a hired killer who is sent to investigate the work left behind by a dead sorcerer, and protect a noblewoman. As they make their way across a wasteland containing ghosts, flesh-eaters and traitors, the duo attempts to learn more about the weapon the dead sorcerer left behind. Unfortunately, by the time the two arrive at the location where the weapon is kept, war breaks out, and the mercenary and the noblewoman must uncover who the traitors are before the war and/or the weapon destroys the world they live in.
This trilogy is based on the Second Sino-Japanese War (1937-45), and while it starts off with the protagonist attending an elite school where she learns shamanism, which will remind readers of Harry Potter, the war brings a change in the narration, which presents war as violent and brutal. Not to mention, war can lead to the extinction of a race of individuals. And, this series provides an expansion of the grimdark subgenre in that the setting is based on Chinese history (during the 20th century). And, the recent announcement of a TV adaptation to the series will attract fans of Game of Thrones as well as fans of the books. This time, all of the books have been written and released before the media adaptation.
The Godblind Trilogy (2017-19) by Anna Stephens
When an uneasy truce comes to an end, the followers of a banished god seek to send the world into bloodthirsty chaos so that the veil which keeps the Gods exiled from the physical world can render and return the Gods in their carnal forms. The beginning of the series lets readers know what to expect throughout it: rape, sacrifice, regicide, cheating and more violence. The female characters are just as violent as the males. This series is NOT for everyone, but it is one to be read by fans of the subgenre.
War for the Rose Throne series (2018-Present) by Peter McLean
Can a priest be a gangster as well? Well, the protagonist in this series is; and, after serving in the war, he learns that his crime empire has been stolen and his people are suffering the consequences of it. Filled with political intrigue from the viewpoint of urban society, the protagonist learns that the war isn’t over yet.
Best Laid Plans series (2017) by Rob J. Hayes
The first book in this series, Where Loyalties Lie, was the Winner SPFBO 2017. Fans of pirate fantasies such as The Tide Child Trilogy and One Piece should give this series a read. However, these pirates are actual pirates and many of them don’t have any redeeming qualities. Not to mention, these pirates are fighting to survive in a world where other societies seek to destroy them once and for all.
This trilogy follows 2 protagonists who represent the opposite ends of a brutal caste system. The female protagonist is a street sorcerer who uses her magic to make life better for herself and her companions. The male protagonist is a priest who grew up in luxury and who is tasked with keeping the peace in the outer ring of the city. Both have been selected by vengeful, bloodthirsty gods to fight for them in an upcoming war amongst the immortals.
Malazan Book of the Fallen series (1999-2011) by Steven Erikson
The easiest way to describe this series is the density of Robert Jordan combined with a higher death count than George R.R. Martin. Filled with maps and a lengthy Dramatis Personae, readers learn quickly of the level of magic, world-building, battle sequences and narration to expect in this series, within the first few chapters of the first book. There are 10 books in the main series—all completed—and, everyone who has read this series claims that it is worth it.
Please know that this is a short list of recommendations. There are several more authors who write grimdark fantasy whose works you should consider reading as well. And yes, that includes indie authors.
Not only has grimdark been presented in novels, but also in other forms of media. Similar to all genres and subgenres in speculative fiction, grimdark “operates across the spectrum of narrative media, from print to drama, radio, film, television, computer games, and their many hybrids,” (Oziewicz, 2017). For decades, fantasy, science fiction and horror stories have been adapted for movies, television shows, graphic novels and video games. Grimdark is no different, yet before Game of Thrones, the subgenre had more of a cult following than mainstream attention. For example, The Walking Dead is a postapocalyptic graphic novel series steeped in elements of grimdark; but how many of those fans have heard of Claymore by Norihiro Yagi? This manga series is about “half-demon warrior women who are charged with defending the general populace from a demonic threat, but at the cost of their humanity,” (Vergara, 2018). While these warrior women are the strongest, they are under the control of the organization which ordains how they fight the demons. If any of them “go astray,” then they are executed by the organization. The question throughout the series is whether or not the actions of these half-demon warrior women should be determined by the organization.
Video games are just as eclectic as literature with numerous genres to choose from. However, during the last ten years or so, some of the more popular video games revolved around gameplay narratives in which, “some kind of built-in morality system that allows players to perform actions and make decisions that ultimately determine their character’s future in the game world. Many of these choices are difficult, influencing…These allow the player to perform actions and make decisions that manipulate the system one way or another,” (Szal & Cummins, 2019). Critically acclaimed games such as Fallout 3 (2008), The Witcher 2 (2011), The Wolf Among Us (2013) and any game developed by Telltale Games focus on the decisions players had to make during the early parts of the game, which would influence what happened to their characters later on. There were no right or wrong answers; players had to make a decision and watch how it influenced the rest of the game. “Morally grey characters are the quintessential core of grimdark,” (Szal & Cummins, 2019).
Unfortunately, just like how the series finale of Game of Thrones did not end the way many fans expected it to, the same can be said about the narrative in The Last of Us 2, which was released in 2020. This game is a direct continuation—not a sequel—to the first game. Meaning you must play the first game in order to understand the story within the second one. The Last of Us (2013) is an action-adventure game which occurs 5-10 years after an apocalyptic event, which is the opening cutscene of the game. The gameplay reflects a narration of a dystopian novel. However, given the ending of The Last of Us, the themes, the ideals and the narrative within The Last of Us 2 reflect a grimdark story. Many critics and players noted the game was “darker and more violent” than its predecessor. One of the reasons for this is because unlike the first game which was about surviving a worldwide disaster, The Last of Us 2 was about protagonists “murdering the people who ruined their families, only to bring holy hell down on each other’s lives as more people get involved in their vendetta,” (Phipps, 2020). The video game focused on characters who were performing acts of violence against those who’ve wronged them. The dilemma becomes who is right and who is wrong, and does the ends justify the means. Both protagonists are right in their beliefs and it’s hard to choose sides because the audience comprehends where they are coming from. This makes it difficult to determine the fate of these characters, which is the sort of story grimdark presents to the audience.
Within a short time, grimdark has emerged into an established subgenre within the fantasy genre. Due to the success of recent TV shows and video games, grimdark has become more ubiquitous amongst readers, players and others. This doesn’t mean everyone is going to enjoy or to appreciate the themes, the tone, the style, etc. found within these stories, but they will admit grimdark is the bleakest subgenre in a genre where good defeating evil and happy endings have become the norm.
What are your thoughts about grimdark? Which books have you read from this subgenre? What are your thoughts about the comparison to both horror and dark fantasy?
Frohock, T. (2015, Nov 2). Is it grimdark, or is it horror? Tor.com.