Every now and then you finish a book, close it, turn it over, look at the front cover for a while, caress the edges a little maybe, and in all likelihood give it a bit of a hug. Just a bit of one. It’s only a book, you know? Hugging a book is weird. So it’s only a bit of a hug. And then you put it down and get on with your day and find another book to read and life goes on.
All of that +10 for Stormdancer – except for the “read another book” bit because I haven’t been able to concentrate on anything else because mentally I’m still going “OH GOOD GOD I WANT A BURUU”.
Griffins are supposed to be extinct. So when Yukiko and her warrior father Masaru are sent to capture one for the Shogun, they fear that their lives are over. Everyone knows what happens to those who fail him, no matter how hopeless the task.
But the mission proves far less impossible, and far more deadly, than anyone expects – and soon Yukiko finds herself stranded: a young woman alone in her country’s last wilderness, with only a furious, crippled griffin for company. But trapped together in the forest, Yukiko and Buruu soon discover a friendship that neither of them expected.
Meanwhile, the country around them verges on the brink of collapse. A toxic fuel is slowly choking the land; the omnipotent, machine-powered Lotus Guild is publicly burning those they deem Impure; and the Shogun cares about nothing but his own dominion. Yukiko has always been uneasy in the shadow of power, when she learns the awful truth of what the Shogun has done, both to her country and to her own family she’s determined to do something about it.
Returning to the city, Yukiko and Buruu plan to make the Shogun pay for his crimes – but what can one girl and a flightless griffin do against the might of an empire?
If you’re not sure if this book for you, let me give you The Checklist Of Awesome.
- Alternative feudal Japan. With mecha suits, and yokai, and oni, and other things that make my grounding in Inuyasha and Gundam Wing suddenly so worthwhile
- Mythical creatures that aren’t dragons, unicorns, vampires, werewolves, mermaids or fairies AND can disembowel you as easily as look at you
- Dieselpunk/steampunk (author says steampunk but I’d disagree) technology that makes sense in mechanical, ecological, social, historical and narrative contexts
- A flawed main character – entirely human and sympathetic and who grows and develops and is entirely like a 16-year-old but at the same time has that potential to be more
- Bad-ass fight scenes that you (if you’re me) decide to read twice because the writing is exquisite and it should be ridiculous but ISN’T because I think Kristoff has CLEARLY made a deal with a writing devil
- Speaking of making a deal with a writing devil, even the big chunks of description are so wonderfully done you can’t hate him for it (damn you sir, damn you)
- OH HELLO FANTASY BOOK THAT HAS A YOUNG GIRL AS THE MAIN CHARACTER AND DOESN’T MAKE ROMANCE THE CENTRAL FOCUS OF THE PLOT AND TREATS SEX WITH THE FUN *AND* RESPECT IT DESERVES OH HELLO WHERE HAVE YOU BEEN ALL MY LIFE CAN I HUG YOU AGAIN OMG THE FEELS YEAH I’M GONNA HUG YOU AGAIN
- Did I mention that romance isn’t the main focus? Even though it has a bit of a love triangle that it untangles without being incredibly patronising to the readers? YES I KNOW IT’S GREAT and don’t go looking for a clean YA resolution because Toto I’ve a feeling we’re not in Kansas any more
- How about the emotional backbone being the relationship between a father and daughter? Or friendships, or families? The healthy ones (Yukiko and her twin), the broken ones (aww Masaru), the dangerous ones (OH HEY SHOGUN), the profound ones (BURUUUU) and so on? It’s all about family and it feels so much better than being all about romance for ONCE
- This also counts as a dystopia, just FYI, and it wins at dystopias because of p.366 of my edition which was a glorious crowning world-building moment of awesome (and ick)
- CHAINSAW KATANAS
- LET ME REITERATE
- CHAINSAW KATANAS
Okay. It’s awesome, but there are issues. People have pointed out the problems with the terminology before – THERE’S A GLOSSARY AT THE BACK BY THE WAY AND PEOPLE MAY NEED TO KNOW ABOUT IT – and how it’s apparently full of inaccurate Japanese. As a fantasy reader I feel like those issues can be side-stepped because it’s *fantasy* and how knows how the Japanese language may have developed in this alternative reality, but they’re valid concerns regardless, and worth the attention (excellent review there, I highly recommend reading it). I wasn’t sure about some of it during the book but it didn’t detract from my enjoyment of the story – this is an entirely YMMV topic, I reckon, but I want to bring it up because it is, after all, dealing with a real culture.
One of my issues with it concerns the tone it takes with regard to the blood lotus pollution. It’s not THAT it deals with the topic, but HOW. It’s a great thing to be writing fantasy about but those segments – ESPECIALLY when Buruu lectured Yukiko about the pollution of Shima – come off as being really quite patronising and odd. I wanted to compare it to Miyazaki but Miyazaki is subtle and clever about drawing links between films like Nausicaa and Princess Mononoke and the modern world, where this felt like being walloped over the head with relevance and significance and it was just… it was jarring. Kristoff proved he can be elegant and clever in almost every other aspect of this story, but that, the element that should linger the longest in people’s’ minds, was awkward. We weren’t being guided by his writing, we were being lectured to. Buruu is incredibly cool but using him as the author’s mouthpiece tarnished him a little. I’d love to get behind this aspect of the book but I just felt, for all the good he wants to do with this message, it suddenly switched tone from SFF to very young adult and then back, which didn’t work, and jolted me out of the story.
My most pressing concern? Lady Aisha. What was that? She was my favourite character aside from Buruu. Did that seriously happen? That was enough to knock a star off on Goodreads. Huge amounts of this book are ALL ABOUT the male gaze – from descriptions of the characters to Kaori’s face to the SODDING BATHING HOUSE SCENE THAT NEVER GETS PUNISHED oh god that annoys me – and although there are lots of aspects of this book to encourage and praise, this isn’t one of them. Lady Aisha feels like a casualty of that pervasive attitude, and it’s troubling – all the female characters are completely defined by the men around them. All of them. It could be read as an extension of the Evil Empire if you want to be kind, but it isn’t just that; I’m tired of Blokey Fantasy tropes and Stormdancer has lots of them. None of them are dealt with. They’re part of the story. I enjoyed the rest of it so much that this really troubled me, and for all I liked it, reflecting back on it there’s a lot I’m not happy with.
Aside from that I loved it, and read it slowly to savour the writing. I raced through the last third far too fast for my liking. People have criticized the beginning with its stately pace and how detailed the writing and descriptions are – I love all of that, and was sad the book wasn’t twice as long. For all I was deeply unhappy with aspects of it, I loved it so much I’d rank it up there with The Name Of The Wind for sheer enjoyment. I can’t wait for the 13th September to come so I can sell it to everyone. “READ THIS,” I shall tell them. “IT IS FUN AND GORGEOUS AND KICK-ASS. Also the cover is well pretty.”
AND I WANT A BURUU PLUSHIE GODDAMNIT
And the Stormdancer book trailer if you haven’t seen it is worth a gander because it’s hi-larious:
Unless you’re Liam who has no sense of humour.