Season Two immediately picks up where Season One left off. Lyra Silvertongue has crossed the bridge into a new world. A world that is devoid of people, except for one. Will Parry has found himself in the same world, and Lyra is the first person he’s seen since arriving there. However, both children soon learn that the other isn’t from that world, and they’re not alone.
Meanwhile, the witches have joined forces in order to search for Lyra and to protect her as the prophecies continue to play out. They find an ally in Lee Scoresby, who goes in search of another who is said to possess a weapon that offers protection. At the same time, the Magisterium and Mrs. Coulter find themselves preparing for war as they attempt to track down both Lord Asriel and Lyra.
The premiere episode of Season Two feels more like a filler than an episode, but it makes sense because there’s supposed to be a “fallout” due to Lord Asriel’s actions. He knew what he was doing and what would happen because of it, but he did it because he believes in his cause. The episode is split between the Magisterium, and Lyra and Will. The Magisterium fears losing power due to the “evidence” that they have no control over their world (and others), and Will and Lyra are searching for a haven. Lyra and Will’s interactions are almost parallel to the events in the beginning of The Subtle Knife—especially the cooking scene.
In all, The City of Magpies is a decent premiere of what is to come throughout Season Two. Not all worlds are the same or safe, and tensions continue to build up. Fans will enjoy the new introduction sequence. In addition, there is another cameo appearance by a young actress from another popular media adaptation series which will leave you all even more engaged in the scenes compared to other ones.
“We’re going somewhere you can be better,” he says gently. “Somewhere I heard of, where they can help you.” Make her a little girl again, and not…He turns away from this thought, too.
She swallows, then nods and steps back, looking up at him. “Is Mama coming, too?”
Something moves across Jija’s face, subtle as an earthquake. “No.”
And Nassun, who was fully prepared to go off into the sunset with some lorist, relaxes at last. “Okay, Daddy,” she says, and heads to her room to pack.
Jija gazes after her for a long, breath-held moment. He turns away from Uche again, gets his own things, and heads outside to hitch up the horse to the wagon. Within an hour they are away, headed south with the end of the world on their heels,” (1: Nassun, on the rocks).
N.K. Jemisin presented a believable futuristic dystopian world by blending science and history—with a bit of magic—in The Fifth Season, the first book in The Broken Earth Trilogy. The book received tons of praise from both readers and critics alike; and, it even won the Hugo Award for Best Novel in 2017. The book’s characters, history, revelations and cliffhangers have readers wondering what would happen next. We get some answers in the second book in the trilogy, The Obelisk Gate.
The protagonists in this book focuses on Essun and Nassun—mother and daughter—who are trying to survive the Fifth Season while trying to keep their orogene abilities discreet. Unfortunately, the latter is no longer an option because the secret has been exposed, with deadly consequences. Nassun, who is eight years-old, was fantasizing of a life away from her home, and her mother, when her actions led to her father learning the truth about his family, unintentionally. Nassun is whisked away by her father—who is relying on a fantasy for a return to “normalcy”—not realizing that she was safer with her mother than with her father. Yet, the further away father and daughter travel from their home, so does their relationship. Nassun starts to believe that something is wrong with her as her father starts and continues his physical abuse towards her. When they do arrive at the “haven,” Nassun learns the truth about her mother’s treatment of her and why her brother was killed. Not to mention, Nassun meets someone who once knew her mother, and he has plans for the daughter. All the while, Jija doesn’t appreciate being tricked a second time. How much pain and trauma can a little girl experience before lashing out at the world? Meanwhile, Essun’s journey to rescue her daughter has been halted by the change in the atmosphere due to the changing seasons and her running into someone else she believed to be dead. And, that person wants her to finish a task he started but is unable to continue. Along with her companions—both from the past and the present—Essun tries to figure out a way to do the impossible, which could save everyone. Both mother and daughter develop both as individuals and in their orogene abilities. Essun has to start where she left off 10 years ago and to determine for herself how powerful she really is; at the same time, Nassun learns of the life her mother was trying to protect her from. All she can do is protect herself by becoming smarter and more powerful in orogeny. Nassun is in survival mode and she refuses to let anyone, or anything, hurt her again.
The plot continues where it left off in the first book: a mother seeks her missing daughter and vengeance for her murdered son. Along the way, Essun’s past catches up with her and soon she realizes that she has to make peace with her past before any more harm can come to her daughter. In spite of that, Nassun does experience everything her mother did, but in a location unknown to other Guardians and with its own set of rules. While Nassun does prove to be very talented in orogeny—thanks to her mother—she doesn’t have the same fear of the Fulcrum as Essun did. Instead, Nassun’s fears are reserved for her father, who slowly realizes that there is no way to rid oneself of orogeny. There are two subplots in this story, which develop alongside the plots. The first is the life in a comm during a Season. While Essun and her companions figure out a way to accomplish their tasks, the members of the comm devise plans and methods for their survival of the Season. It is unclear how long the Season will last and who will survive (a lot of harsh decisions will be carried out), but everyone must work together to ensure their survival. The second subplot focuses on the Stone Eaters. The surviving orogenes—particularly the powerful ones—and the readers, learn more about them and their nature including their lifespans, their goals, and their need to protect the orogenes. This subplot is interesting because while the world knows of their existence, little is known about them. These subplots function as world-building elements as well. This is because to understand how and why a Season changes everything, an explanation of the world must be given to the readers.
The narrative in The Obelisk Gate is more straightforward. In The Fifth Season, the narrative jumps between two timelines in the past and two in the present. In the sequel, the sequence sticks with the present as it moves between the points-of-view of the protagonists. However, the P.O.V.s does shift between 1st, 2nd, and 3rd person amongst ALL of the characters. Readers should be used to the changing P.O.V.s; and, if not, then they should know that these multiple P.O.V.s do provide the streams-of-consciousness from reliable narrators. Yes, even foes and children can be reliable narrators. These narrative methods allow readers to follow the story while understanding what is happening to the characters at the end-of-the-world.
The style N.K. Jemisin uses in The Obelisk Gate combines science and communal survival during an emergency with the themes and the practices of systematic oppression and abuse on a group of individuals. All of the talks about the Moon, satellites and seismic activity is based on science. The practice of “harboring” people who are different in separate facilities and “training” them to be “useful” is a form of oppression. And, while differences should be ignored when a group of people are hunkered down and trying to survive, that doesn’t always occur. Old practices die hard and there are always victims. In fact, it is known for abuse to increase during such times and relationships change as well (and not for the better). The mood in this novel is preparation. The world has acknowledged that a Season has begun and everyone works and strives in order to survive it. That means a lot of harsh decisions and cruel practices are carried out, but it must be done in order to ensure survival. The tone relates to the idea that only the strong and the useful survive an apocalypse. We don’t want to admit this, but it’s the truth within the fiction. And, the author makes sure that we remember this truth regarding the survival of the fittest in a dystopian world.
The appeal for The Obelisk Gate adds to the praise of The Fifth Season. Not only has the second book achieved the same acclaim as the first book by critics and fans, but also was nominated for several speculative fiction awards and won the Hugo Award a year after the first book did, which is a rare achievement! The success of this series of far has brought readers of different genres to read this work of speculative fiction. And, with the cliffhanger at the end of the book, readers will be eager to learn how the story ends in The Stone Sky.
The Obelisk Gate is a brilliant sequel to The Fifth Season. The development of the plot and the characters alongside the pacing continues to keep readers engaged in the story. The themes of family, survival, oppression and truth are found within the narrative as reminders that an apocalypse doesn’t always bring people together for the greater good. Survival is the key.
When Misaki hid her sword, she nailed the floorboards down over it. It was a promise to herself. She might never be able to destroy the part of her that was aggressive and willful, but she could bury it. That was what she had thought at the time, (Chapter 7: The Sun).
Thanks to the Internet and e-readers, creativity has propelled to levels beyond the zenith. Many e-books of all genres have allowed indie authors to become bestselling authors and several more have been able to transcend from self-published to contracted authors (i.e. Amanda Hocking). M.L. Wang is the latest self-published author who proves that indie authors should not be ignored or overlooked. The Sword of Kaigen: A Theonite War Story demonstrates the evolution of the speculative fiction genre with an unlimited freedom for creativity.
There are two protagonists, and they are members of the same family, the Matsuda Clan. Mamoru is the eldest son of Takeru and Misaki, and possible heir to the household—his uncle is the Lord and his only child is a girl. Mamoru has lived his entire life in the Kusanagi Peninsula—in the isolated mountain town of Takayubi—in the Kaigenese Empire. He doesn’t want for anything more than to become a warrior and master the sword technique of his family and ancestors, “The Whispering Blade”; and, at 14 years-old, he has yet to master the skill. When a new transfer student, Kwang Chul-hee, slams the lifestyle of the denizens of the Peninsula, Mamoru wonders whether or not his doubts go further than his family’s expectations. Like any other adolescent, he challenges everything his family has taught him to his father’s horror and to his mother’s humor. After his father fails to discipline him and to keep him on the “traditional” path, it is his mother who confirms his suspicions and assists him with his training and swordsmanship, much to Mamoru’s surprise. Misaki is the wife of Takeru and she hates it. A former warrior from the city of Ishihama from the Tsusano Clan, Misaki’s marriage to Takeru has left her in a state of depression and anger. While she finds solace in her sister-in-law, Setsuko, and in their friend and fellow housewife, Hyori Yukino, part of her wishes she can return to her days as a warrior doing missions for the Theonite Daybreak Academy with her former classmates: Ellen, Koli and Robin. Unknown to her husband, Misaki is close to having a breakdown due to her husband’s abuse and mistreatment of her. Both mother and son are characters who reflect the on goings of the bigger world. Mamoru must learn to uphold his family’s expectations while learning how the rest of the Empire operates from his classmate and friend; at the same time, Misaki must find a way to remain calm before her emotions get the best of her. Both protagonists represent the reality and the complexity of the lifestyles they must live and suppress amongst the ignorance of their family and their community.
The plot of this story centers on family and family expectations. Misaki is reminded of her role and her place as the wife of the leading household in a place far away from, and different, from where she came from. She is suffering from the stifling expectations. Mamoru sees himself as a failure because he has not been able to live up to the expectations of his family and his community. All he wants is the chance to prove himself to everyone and himself. There are two subplots in this novel. The first is the conflict of isolation from and involvement within one’s community. Mamoru is the son of a close-minded father and a secretive mother. When he is told how the Empire operates truly, it is his mother who allows him to seek the truth in his own way. Mamoru learns before his father that living in isolation could lead to death and stagnation. The second subplot is war: the cause of it, what happens because of it, the propaganda surrounding it, the cost of it, and the aftermath of it. War is coming to the Kaigenese Empire and denial from the government leaves everyone unprepared, and many people will die due to this neglect.
The narrative is told from the points-of-view of Misaki and Mamoru, with one or two moments where other characters’ P.O.V.s pop-up to enhance the story. The narrative is told in chronological order from the first-person P.O.V.s and streams-of-consciousness of the characters. In a story where a battle occurs, the perspectives, the actions, and the emotions are essential to how the events of the story are executed through the readers by the author. The way the narrative is written presents the P.O.V. characters as reliable narrators.
The style M.L. Wang displays in The Sword of Kaigen will remind readers of both The Poppy War by R.F. Kuang and any anime series. Her combination of Asian storytelling and tradition with the allusion to pop culture references make this novel both informative and entertaining. The language and the word choice illustrate the culture and the influence of the author; and, the word choice presents the way the narrative is told and which character is perceiving it, an adolescent boy or his mother. The mood of this novel is tension. Tension within a family and the tension within a community before and after it’s been attacked. The tone is the steps each individual takes towards overcoming from the results of the tension. Even after the battle, the initial tension does not go away, but must be dealt with before any type of battle ensues. And, the way the author resolves both tensions in the narrative is bold and realistic. I should mention that the maps and the glossary are a huge help to reading this book as well.
The appeal surrounding this book have been extremely positive. Several bookbloggers, booktubers and I, have heard about how the author wrote a fantasy story about war and family including sword techniques and a magic system which will remind readers of any Asian influenced medium. I was lucky enough to learn of this book from other bloggers and to have the author sent me a print copy of the book (I still bought the e-book edition)! I should reiterate that this book was one of my favorite speculative fiction books of 2019! This novel is one of the most recent works of the genre, which demonstrates the future of speculative fiction. Alongside N.K. Jemisin’s The Broken Earth Trilogy, The Sword of Kaigen demonstrates the direction the genre is moving towards. And, while the author is taking a break from her Theonite series, the time will allow other fans of the genre to read this book and the other ones in her series and see why this book is one of the 10 Finalists for the 2019 Self-Published Fantasy Blog-Off (SPFBO), which is operated by Mark Lawrence and fantasy bloggers from the most revered fantasy reviewers and review websites in the community.
The Sword of Kaigen is a powerful story that exploded in 2019 to the shock and the delight of the entire fantasy fandom. The themes of family, war, conspiracy, and consequences are not new to fantasy readers and fans. Yet, the way M.L. Wang writes her story make it standout and away from duplicates using a similar format. This book is the best example as to what the genre can evolve into and why self-published authors should be recognized and commended. I look forward to witnessing, experiencing and reading any and all books published by M.L. Wang in the years to come!