Well, this book was a pleasant surprise. My sister, Jocelyn bought it for me for Christmas, and I must confess, judging by the cover (a barely-photoshopped picture of some guy pretending to be an assassin in a ridiculous hood) I would never have bought it. Character pictures are not my thing (they're popular in the USA, need I say more?), and photos are simply a no-no on a fantasy book. Such is the peril of judging a book by its cover.
As it turns out, Weeks has written a supremely gripping and exciting story, set in a rich, interesting world, with a spiritual depth that is supposedly a strength of fantasy, but often missing in action. Weeks talks (on his website) about how characterisation is a strength of his, but I would have to disagree, at least within the context of this book. Plot reigns supreme from page 1, to the extent that plot concerns squeeze characterisation into monologues in several cases. Indeed, the revelations in these monologues, late in the book, could have developed several of the characters with much greater depth if the information had been doled out earlier and more judiciously. So yes, characterisation is not a huge strength of this book, a weakness further exacerbated by the wealth of characters. Fortunately the plot moves smoothly from gut-wrenching climax to climax, incredibly escalating the risks and rewards for many of the characters to a feverish level, which is then maintained for many pages as the elaborate climax works itself out. Of course, the ending is very open, setting itself up for an immediate sequel. But this story has been told, and the key threads of character and plot have satisfyingly worked themselves out in its pages.
So what is the plot? The story is about a boy, who grows into a young man over the course of the book, and who escapes from the wretched life of a child gangster, living in constant fear, into the disciplined but equally fraught life of a "wetboy"--an assassin who uses magic. Unfortunately the boy struggles to use the magic his master relies upon, and this is a key device weaving together various plot threads (an invasion, a counter-action by a powerful mage, and some personal revenge). Themes of commitment, sacrifice, honour and love all find a place both in the young man's story, and in the wider stories.
The plot is aided by strong world-building. While the various nations in the book (several of which are involved in the storyline) contain strong echoes of real cultures, they manage to transcend this. However, there is no convincing "foreignness" to any of the characters. Apart from their outward appearance they could all belong to the same culture. The only exception is the evil nature of the antagonists, but their evil is so one-dimensional that they serve as little more than terror and sword-bait. That, of course, is an example of the failure in characterisation. The protagonists suffer from motives that are spoken but rarely shown. For example, the main character, who becomes an assassin's apprentice, is motivated by the desire to avoid the need to feel fear. That is a reasonable motivation, perhaps, but then it is almost forgotten. There is never a moment when he realises that he no longer fears, nor a moment when he realises that avoidance of fear is an insufficient motive. Instead he is pushed to and fro by the winds of the plot, a weakness then denied by his single-minded pursuit of particular goals. This makes for exciting, but not entirely satisfying reading. (Yes, the plot lines are satisfyingly resolved, but the character's arcs are not so satisfying. There is a difference.)
In terms of world-building and description, Weeks's greatest triumph, though, is the main locale, the city of Cenaria. While this is, perhaps, a generic medieval city, Weeks's colourful prose brings it to life. While the middle classes are missing in action (the protagonists and antagonists are sourced entirely from the poor and the nobility) the two extremes of the city are vividly and powerfully portrayed.
Why should you read this? Well, if you don't mind a lot of brutality, portrayed with admirable restraint, then this is a story of characters with heroism hidden deep in their hearts triumphing over impossible odds. It is clear that Weeks was working beyond his abilities at this stage, but the abilities he does bring to bear are more than sufficient for an intensely gripping read. There is never a dull moment in the 645 pages of this book, and it leaves a pleasant taste in the mouth, rather than a foul one. Weeks doesn't cheat, he doesn't pull punches, but his heroes are certainly heroic. And his portrayal of the spiritual dimension of his world is surprisingly realistic and sophisticated. People believe stuff that is false, and stuff that is true. The true beliefs do make a difference. I am looking forward to reading the rest of Weeks's oeuvre.