Slayer in the Wide Valley [HARDCOVER]

1 review for Slayer in the Wide Valley [HARDCOVER]

1. 

   Rated 4 out of 5

   Æthan Ashthorn – July 23, 2024

   A profoundly optimistic humanist fable, Slayer in the Wide Valley’s central theme is both one of its greatest weaknesses, but also its greatest strength.

   The book’s profoundly optimistic, humanist message, while at times refreshing in the slog of current year media pushing its narrative of “humanity bad”, “humanity pollutes”, overt anti-natalism, and “less people alive will make the weather gooder”, does border at times on heavy-handed. That is to say, parts of the prose end up segmented and the flow of the narrative ends up a little lost in the process. Within the early chapters its point is already made, that of “this is a fantasy story that is okay with, and shamelessly embraces the concept of wholly evil, monster races”, and I for one am for it. After which, there is a bit of excessive fervor with which this point is driven, and supposedly admirable princes bear shades of Pinochet. However, this tails off after the early chapters, and is never so hamfisted that it’s unreadable, nor unenjoyable.

   The central theme of the story is a very black&white optimistic humanism. Jaded myself, there are times where this drove me nuts. Haha. That having been said, while heavy-handed at times, it is certainly a welcome thing to see expressed with such passionate and joyful exclamation.

   This is also true of the love story within the book. It is classically fairytale-like in all its glory and to all its camp. It’s an absolute joy for someone to write an idealized version of a relationship as it is in Slayer, however, again, I admit my own jadedness to the subject matter and context drives a barrier between myself and the protagonist that took time to work through.

   While there certainly were factors that detract from the first ¼ – ⅓ of the book, I found it to be very increasingly smoothed over as I went on. Perhaps it’s my adaptation to reading the author’s style, or something else, but as I went on, I very much enjoyed it more. Oddly, the story picks up, not after the first big battle, but when the hero goes into a small town on a mountain. As a whole, I enjoyed the first few chapters, but found the early, early-mid chapters to be the least enjoyable. This setup does pay off, but was at the time of reading a bit off putting. Nevertheless, I’m glad I persevered.

   As for how it is written, there are parts that are very enjoyable to read, despite my personal tastes being somewhat different from how it is written, and for aspects of the author’s apparent style. This is something that served as a stumbling block to my reading of even widely popular things such as Harry Potter, until I found that the audiobook version smoothed much of it out, which is to say, I can highly enjoy and esteem something even should it not be written in a way I overly fancy. I know many who cannot enjoy J.R.R. Tolkien for such reasons, and I wouldn’t want every writer to write as James Luceno does, nor Timothy Zahn either. I’m very sure that my own quirks would draw the ire of some as well.

   However, while part of each writers’ style is by realizing English’s (or preferred native language) is generally best viewed as descriptive, I would still hold that certain prescriptive notions exist and not without reason. I personally appreciate slightly more liberal use of commas to add more specificity and direction to narration or dialogue. At times, moreso early on, I found the phrasing left somewhat ambiguous, and on occasion, difficult to navigate. I’m also a stan of the Oxford Comma, and for the use of dialogue tags (a general lack of which is why I for this reason do not enjoy many light novels). This is more of a me issue, I’m sure, but I find it worth stating nevertheless. (I don’t identify as a “Grammar Nazi”, but I wouldn’t fault anyone for suggesting that I’m “Alt-Write”. Haha.)

   Additionally, linguistic choices sometimes left me sling-shotted. At times the dialogue and narration felt more rooted in what one might expect in sword&sorcery and others felt bizarrely modern. I recognize that this is something I contend with in my own writing, and it’s not pointed out without that consideration (Matt. 7:3-5). I do, however, greatly enjoy Liam’s (the proverbial farmboy that has gone to war’s), characterization, and that is quite clear and executed with great endearment, even if I, like his detractors in the book, think it is at times taken to a naïve extreme. By later chapters, much of this is greatly improved.

   Sometimes the use of course or otherwise “foul” language also caused a bit of confusion and irk, but not out of any moral sense, but rather, it took me a moment to discern how it was being used. That is to say, when colorful words aplenty rain in rapid use, am I to take it as “guy talk”, valid, that the speaker is a “ruffian” or otherwise low/street educated, or is simply exuding 12yo Call of Duty player energy, sans a suggestion that he’s copulated with my mother? The latter was quickly ruled out, however, I admittedly found the voice it imparted to the characters in those moments difficult to shake.

   Similarly, near meticulous descriptions of the characters, and while I appreciate metaphors and rejoice in reading vivid descriptions (many writers of the current year often seem averse to describing anyone as it might offend, and much to their work’s detriment), there’s a shade that that borders proverbial “MenWritingWomen” type memeage that some, including this reader could give or take, others may not mind, I imagine many will greatly enjoy, some might despise for just reasons or otherwise. That having been said, at least the author appears to know what a woman is, and how one might describe her in an ideal way; and the same for the men, absolute “Chads”. This strikes a stark and welcome contrast to so many ‘sexless’ characters pervading so many modern stories.

   So do not be fooled by the critiques listed above, because there is a lot here that I like. A lot that I really like. As mentioned, I very much like the core of the character Liam, the protagonist, and up to a certain extent, greatly am refreshed by his optimistic view of people, and humanity as a whole. Moreover, to the author’s credit, this is written by someone who gives every indication of being more than superficially versed in what he’s writing. There is a great air that what he writes was or is of interest to him.

   While the dialogue has its ‘eh’ moments, especially early, but by the early-middle chapters it becomes more and more difficult to put down. This is the work of someone who is familiar with and admires western medieval culture and history, and draws from that to exalt its tradition, and not to deconstruct and criticize it.

   And again, at times clunky dialogue and all, some of which is no doubt intentional given the dynamic (“Attack of the Clones” comes to mind, and I do not mean that as a sleight.), the central love story, while almost sickeningly idyllic, is, as it is, enjoyable and at times every shade of funny and endearing to read as it unfolds. In the stagnant post-modern stench that is the media of the current year, this is a breath of fresh air, and an ice-cold water drunk slowly after sucking on a menthol cough drop.

   So then, overall, would I recommend this read? Generally? Yes. I recommend one always to search out and support independent creators when possible, however, there are things that detract from it as previously stated, things in the message that I disagree with, and stylistic or world building choices I’m not a fan of, but I don’t read to be coddled by an echo chamber, and the world needs more idyllic optimism.

   Are the orcs more close to “zombies” in action and effect? Perhaps, they’re certainly a factor removed from the banal excuse for fantasy that has become of D&D’s incarnation, and are even reduced in intelligence and humanity from that of Tolkien’s legendarium.

   Another interesting thing of note is in its later chapters there is the unfortunate notion that the gods of the world are dead, which puts to mind a nietzschean mindset for what the world ongoing and people in it might be forced to contend with humanity, Man, as their only cultural deity, however, there is some poetic solace in that (without overt spoilers) there is a sense of justice to be had. Whether I agree with such a humanist view, regardless, it’s a well executed sequence of meaningful events. [Rambles about The Terrible Mother and Dragons of Chaos in a vaguely Canadian, vaguely Kermit The Frog-esque voice]

   All this philosophizing and comparison set aside, Slayer is a remarkably fun read once it finds its stride, and for this reader, once it did, it was a hard book to close. What’s more, the chapters are themselves quite short, which is sometimes helpful for those whose minds are ones that wander. The characters given time to develop, are well developed, and the setting as a whole is one of interest. Especially as a mountain lover.

   While not my favorite book ever written, it is far from the least, and proves without a doubt that a publisher’s name along the spine is no indication of quality. Nay, in these times it may prove often to be the opposite. It’s written with a freedom of the heart not seen in most books these later years, and is ever more enjoyable because of this. Perhaps my greatest grief in the novel is how abruptly it draws to a close, but there is wisdom in ending on such a high note, to be sure. (watch most any film made before 1970, haha.)

   So ultimately, I highly recommend Slayer in the Wide Valley to anyone craving classic fantasy, the kind where a Frank Frazetta aesthetic comes to mind, where men with big swords fight purely evil monsters, where beautiful people reside in idyllic villages, and where the human spirit prevails against all odds. The world needs more optimism, and writers willing to project it, and Slayer in the Wide Valley by Adam Misner is just that.