Source of book: KU
Relevant disclaimers: None
Please note: This review may not be reproduced or quoted, in whole or in part, without explicit consent from the author.
And remember: I am not here to judge your drag, I mean your book. Books are art and art is subjective. These are just my personal thoughts. They are not meant to be taken as broader commentary on the general quality of the work. Believe me, I have not enjoyed many an excellent book, and my individual lack of enjoyment has not made any of those books less excellent or (more relevantly) less successful.
Further disclaimer: Readers, please stop accusing me of trying to take down “my competition” because I wrote a review you didn’t like. This is complete nonsense. Firstly, writing isn’t a competitive sport. Secondly, I only publish reviews of books in the subgenre where I’m best known (queer romcom) if I have good things to say. And finally: taking time out of my life to read an entire book and then write a GR review about it would be a profoundly inefficient and ineffective way to damage the careers of other authors. If you can’t credit me with simply being a person who loves books and likes talking about them, at least credit me with enough common sense to be a better villain.
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I didn’t think I couldn’t be obsessively interested in Dark Souls and this book really challenged me on the obsessive interest front.
Like it was fine, but it didn’t tell me anything I didn’t already know and it’s occasionally just flat out dull. There’s a long, descriptive chapter on game mechanics, for example, when I suspect most people who pick up about a book about Dark Souls have played the game to the point that they know the mechanics better than they know their own partner/children/other thing of supposed value in their life.
The other thing that’s sort of integral to the Dark Souls series is its ambiguities, especially when it comes to The Lore TM. This book’s tone is, in general, authoritative which kind of diminishes what’s intriguing about the setting and the history. It does occasionally discuss fan theories, for example Solaire potentially being the son of Gwyn (something DSIII puts to bed, but the book was written before its release) but only when the author seems to personally find them plausible. There’s very little space left for nuance, for example around characters like Lautrec (the book just assumes he’s evil but … is he? Is he completely? And there’s barely a mention of this goddess he serves so faithfully/obsessively) or Seath the Scaleless (who is condemned as vengeful without sympathy for his plight as an outsider to his own people, not that I think being an outsider is justification for genocide but, y’know, there’s details here). Perhaps wisely it doesn’t touch the clusterfuck that is Gwyndolin’s gender identity but it also just takes it for granted that Gwyndolin’s actions are actually manipulated by Kingseeker Frampt (when personally I always thought Kingseeker Frampt worked for Gwyndolin)
and that their* support of the father who rejected them is evidence of a weak character, rather than a complex one.
(Also I realise what an almighty prat I sound being like “uh, actually, I don’t think this book properly acknowledges the subtleties of Seath the Scaleless” but, like. Come on. If you like Dark Souls this is the sort of arrant nonsense you probably care about).
By the same token, it’s just taken as read that the path of dark is the correct (or at least superior) ending to the game. This is probably true, given that linking the flame is essentially letting yourself be manoeuvred into sacrificing yourself in order to maintain the power structures of a bunch of people who aren’t you. But the fall of Oolacile must surely give one at least some degree of pause for what an age of dark could mean.
It's also kind of evident the book doesn’t see much merit in DSII. Which is, y’know, not a crime or anything. But it does make its analysis of that game even more lacklustre than its analysis of DS1, its thematic resonances and attempts to use the Dark Souls framework to tell a more directly personal story of loss, largely disregarded. There is, I should mention, a whole chapter on ‘themes’ at the end of the book, but they’re mostly just sort of listed out and briefly alluded. When I personally would have preferred something more integrated and comprehensive. But it’s also clear that how I interact with stories, and how this book does, are fundamentally quite different.
So yeah. This was okay. I’m broadly glad I read it, but I’m also glad it was on KU so I didn’t have to, y’know, pay for it directly.
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*used they/them pronouns for Gwyndolin because I too do not want to the touch the clusterfuck that is their gender identity.