Book Review: Mistborn: The Final Empire

mistborn-coverWhen I first read Brandon Sanderson’s Mistborn trilogy six years ago, I spent an entire summer weekend reading in my room. I went through a book a day and only came out to say hello to my family, scrounge for food, and use the restroom. I’m not even sure I changed out of my pajamas that weekend. The Final Empire was my first Sanderson novel, and was actually one of the first adult fantasy books I’d ever read. (Alison Croggon’s The Naming was my first “adult” fantasy novel, but it always felt a little YA to me.)

Perhaps it’s because I read it in such a flurry that I keep returning to the Mistborn trilogy. I read it for a second time about two years ago, and picked it up once more over my winter break. I have a horrible memory for media, so I was surprised by much of the details—and even some plot points—in the first Mistborn book. I read it over the course of a week and, unlike the first or even second read-through, took the time to absorb the language and the characters. And it was absolutely enthralling.

Everything I want in a book is there: fleshed-out characters, intriguing magic, an active political landscape, fight scenes, a dash of romance. I love multi-POV books when done properly (in other words, when the narration is split between a few important characters), and The Final Empire keeps the POV shifts neat and limited to two principal characters—Vin and Kelsier—and the occasional odd character. Sanderson uses a gentle touch when worldbuilding Luthadel and the surrounding landscapes, and eased me into this new world and characters. In fact, it’s almost too gentle; the main characters are introduced slowly: “Then character X walked in, and he wore this and acted like this; and then character Y came in, and he wore this and acted like that…” I would have preferred a more dynamic introduction of some characters, something more seamless. Sazed’s introduction later in the novel seems close to effortless, which is a good thing.

One thing I wish Sanderson had done differently is the romance between Vin and Elend. Vin seems to fall in love with Elend rather quickly; I believe she only met with him a handful of times before realizing she loved him. And Sanderson could have made the reveal much more compelling if Vin had shown us her love for Elend rather than explicitly stating it. (Seriously, she thinks, “I love him,” and then runs off to save him. Not the best-written scene by any means—though I do appreciate the role reversal.)

My other, more minor, complaint is how often the characters sigh. It seems to happen in every conversation, even in some instances where characters are parsing out details on their own. Vin sighs nearly every time she’s on the page, and once you notice it, you can’t help but sigh yourself every time a character does. There are other ways for characters to express their displeasure, their tiredness, their loneliness. I’ll have to keep track of how many sighs occur in the other two books in the trilogy, or if Sanderson continues the trend in his later works, like the Stormlight Archive books.

Mistborn: The Final Empire was near perfect for a first installment. There were twists and surprises, and I found few gaps in logic or consistency of plot. That said, it does feel like a safe novel; where Mirror Empire was too ambitious, perhaps The Final Empire isn’t ambitious enough. Regardless, it’s guaranteed to please any high-fantasy lover, and is a great place for new readers of fantasy to start. 4/5.

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