#generations trilogy

[exiledfrommars]

Trying to imagine Jarlaxle with hair is breaking my brain right now

[princefleabitten]

Zaklaxle or Jaxlefein or a secret third option…?

[artemis-entreri]

[[ I’ve read the ARC of Relentless. Ask me anything!

I was granted the ARC of the upcoming Drizzt novel, Relentless, the final book of the Generations Trilogy that consists of Timeless and Boundless.. As was the case with its predecessors, since it’s ok for the cat to be out of the bag about my having read the ARC, I’m happy to share anything and everything with you guys short of sharing the ARC itself.

Like before, I do plan to post a comprehensive review and analysis of the book but I figure this way will better help people decide if they want to buy the book come July 28th.

Some general comments:

- This book is a huge improvement from Boundless. Objectively speaking, I would say that it’s better than Timeless, which I’d unironically described as “Salvatore’s best work to date”.

- That said, it’s very difficult to be objective about Relentless. To put it simply, when my significant other asked me for a one word review, I responded, “Thanks, I hate it.” When he pointed out that my answer was four words, I amended, “Heartbreaking”.

- Most people’s mileage will likely vary drastically from mine. My two greatest loves, insofar as this fandom and franchise is concerned, is Artemis Entreri, and the overarching Forgotten Realms canon. Neither is respected by Salvatore in Relentless, and indeed, both are perverted to a never before degree in this latest installment.

- If you don’t care about the wider world of FR, you’ll probably find this book very good.

As always, all content that contains spoilers will be put under Read Mores. ]]

[artemis-entreri]

Read an Exclusive Excerpt from R.A. Salvatore’s RELENTLESS

The new Drizzt Do’Urden novel Relentless arrives this summer. Read an exclusive excerpt from the exciting conclusion to R.A. Salvatore's Drizzt trilogy.

[[ A new excerpt from the upcoming Drizzt novel: Relentless, third and final book of the Generations Trilogy. 

Relentless continues the trend set by its preceding two books in alternating between the past and present timelines. Like the previous released excerpt, this one is from the present timeline. ]]

[artemis-entreri]

This Tense Excerpt From R.A. Salvatore's Relentless Features a Soul-Killing Dagger and a Chasm of Fire

R.A. Salvatore’s Drizzt Do’Urden fantasy trilogy comes to an end this summer, and io9 has hosted excerpts from the first two books (Timeless and Boundless). We’re thrilled to once again reveal the cover and an excerpt from his final book in the series, Relentless.

[[ Following up on the title and summary announce, Gizmodo has released the cover for the next Drizzt book, “Relentless”, the conclusion to the Generations Trilogy. Furthermore, the preview teased features not Drizzt, Zaknafein, nor any other drow. Instead, a certain human assassin apparently takes the spotlight, despite the character illustrated on the cover of the book. ]]

[[ Who is this mysterious elf? Presumably, it’s a drow, although the coloring scheme makes that uncertain. I’m guessing it’s Zaknafein, as Drizzt and Jarlaxle have both been featured already, but it’s honestly hard to tell. Zaknafein is described as having short hair earlier in the Generations Trilogy and this character appears to have long hair, but that could just be due to the vague shape definitions in the artwork. It appears that this mysterious figure also has facial hair in the form of a goatee. His armor doesn’t look like anything we’ve seen before, so I’m hoping it is indeed Zaknafein and not something silly like Artemis Entreri turned into a drow. 

Without further ado, the excerpt from “Relentless”: ]] 

Artemis Entreri stood at the edge of the chasm that held the primordial of fire, his jeweled dagger laying loosely atop his open and up-facing palm. He stared at the weapon, hatred in his eyes, but only because that dagger was a reflection on him. He understood that now. He realized now, after his stint in the cocoon of conscience, that his worst crimes were those when he had put this evil weapon to use.

Entreri had killed many foes, both in battle and in secret. He had lived as a hired assassin. Always had he justified his work by telling himself that he had never killed anyone who hadn’t deserved it – the world was a brutal place, after all. He still believed that to some extent, except for this particular weapon. He hadn’t just killed people with this weapon, he had obliterated their souls and stolen whatever afterlife might have awaited them.

How many of his victims had deserved that?

He couldn’t justify it, not ever.

He stood there staring, contemplating, and the biggest question twisting his thoughts in that dark moment was whether he should simply toss the weapon to its destruction or jump in beside it.

A fall, a flash of intense pain, and it would be over.

The man winced. Nay, it was not a fear of death that kept him on that ledge, but the fear now of what awaited him when he crossed that final river.

Perhaps that was the true torture of Sharon, he considered. She had shown him what awaited him, making him fear death more than he hated life.

“Damn it all,” the broken man whispered, his words disappearing under the continual hiss of the dripping water falling to the heat below. “Damn that I was ever born.”

“Once I might have agreed with you,” came an unexpected response, and the assassin spun about to see Catti-brie and Yvonnel walking up behind him.

“There was an Artemis Entreri I thought worthless,” Catti-brie continued. “That is not the man standing before me now.”

“We have already had this discussion,” Yvonnel reminded the man. “You have been given a great gift.”

“A gift,” Entreri echoed with a snort.

“A message, then, and, clearly, a powerful one,” the drow restated, staring at his open hand and the dagger. “You wish to destroy that weapon?”

“Perhaps I’ll drop it in and it will eat the primordial,” Entreri mused.

“Not hardly,” said Yvonnel.

“If you wish, I’ll bring it down for you,” Catti-brie offered. She paused and smiled. “Didn’t you try to do the same with the sword you still carry?” It was a rhetorical question, of course, for Entreri had indeed thrown Charon’s Claw into the chasm, only to have it retrieved by this very same Catti-brie.

Entreri laughed at the reminder. “It would seem that I have been long cursed with evil weapons.”

“Weapons are merely tools,” Yvonnel said. “The intent is in the heart of the wielder, not the blade.”

“One could argue that the dirk Regis carries is equally vile,” Catti-brie reminded. “Or the sword I once carried.”

“The sword that nearly drove you insane, if I recall,” Entreri said dryly.

“Because I was not nearly experienced enough and skilled enough to control the base instincts it teased,” Catti-brie said. “Such is not the case now, as with you and your sword.”

“Is death at the hands of simple iron any less death than that with your dagger?” Yvonnel asked.

“Yes, that is the point,” said Entreri.

Yvonnel looked at him doubtfully.

“The dagger eats the souls of its victims, so they say,” Catti-brie explained.

“And gives to me their physical health,” Entreri added.

“Yes, yes,” Yvonnel said. “This is why Zhindia Melarn was so outraged at the loss of her daughter to your dagger. I remember now. The girl could not be resurrected because of the manner of her death.”

“Because the magic of this dagger obliterated her soul,” Entreri said, and he thought then of simply letting it fall into the pit.

“That cannot be,” Yvonnel replied, giving him pause. He looked at her curiously.

“One cannot ‘obliterate’ a soul,” Yvonnel explained. “Such energy is eternal, beyond the gods, even, and surely beyond the power of a simple dagger.”

“You just said that Zhindia was outraged because…”

“Because her daughter could not be brought back from the afterlife,” said Yvonnel.

“Because she had no afterlife,” Entreri reasoned.

Catti-brie looked to Yvonnel, who was shaking her head.

“If the souls are not destroyed, then is it possible that they have instead, been absorbed and trapped in the dagger?” Catti-brie said. “Is it a phylactery of sorts?”

“That is possible,” said Yvonnel, who looked from Catti-brie to Entreri. “Or perhaps they reside in another person now.”

“In me?”

“You just said that the dagger grants you your victim’s physical health. Perhaps there is more to it.”

Entreri blanched at the thought, and then thought once more that he should accompany the dagger to the fiery maw of the primordial!

“If that is true, either case, then they can be exorcised,” Catti-brie put in. “Set free.”

“Then I should throw the damned thing into the pit,” said Entreri, but Catti-brie was shaking her head.

“I know a better way.” She smiled and nodded, clearly considering a course.

“Do you intend to share?” Entreri asked after a few moments.

“Patience,” Catti-brie said. “Make no final decisions until I have considered our course, I beg. For now, though, I have something else I must see to.” She stepped up past Entreri, pulling him back from the ledge and replacing him on the lip of the chasm.

“I still do not agree,” Yvonnel said. “There must be a safer choice.”

“Maybe, but what time do we have?” Catti-brie replied.

“Then give to me your ring and let me do this.”

Catti-brie shook her head. “You said you would help me. I welcome your enchantments.”

“Do what?” Entreri asked, but they didn’t seem to be listening.

“You risk your child,” Yvonnel said.

“How much do we risk if I do not do this?”

“You don’t even know if the primordial will hear you. nor can you predict its response if it does! It is a creature of long-past millennia. Its way in the world is not ours, is not known to us, more foreign even than the beings we name as gods. Please, child, my experience is vast in such matters. Lend me your ring that I might go and speak with the creature.”

Catti-brie seemed to be considering it, even put the thumb and finger of her other hand upon the ring, as if to pull it off.

“It knows me,” she said at length, speaking as much to herself as to her companions, bolstering herself, obviously, for this task ahead.

“It cares nothing for you or any of us,” Yvonnel countered. “We cannot even know what brings it pleasure, what dreams or desires…”

“It knows me, and I know it,” Catti-brie said with finality, holding up her hand to ward the woman, who was leaning toward her, back. “I’ve been down there before in communion with the creature.”

Yvonnel considered the words, then finally surrendered with a nod. She held up a finger, bidding Catti-brie to pause, then cast a powerful dweomer over Catti-brie, one that the pregnant woman had to accept and allow to take hold upon her. Then Yvonnel began casting more mundane enchantments, throwing wards against heat and flame over Catti-brie, creating magical enhancements upon the woman to bolster her in the face of such a beast as awaited her in the pit.

“Promise me that when this is done, that when we have won the day, you will grant me that ring that I, too, might experience a communion with this most magnificent creature.”

“It’s a damned volcano!” Entreri reminded, but the two women just replied with smiles.

On a sudden thought, Catti-brie took out the onyx figurine of Guenhwyvar and held it out toward Yvonnel. She pulled it back, though, and couldn’t help but shake her head at her instinct. She intended to protect the panther by handing the figurine off, while still going down into the chasm with her child in her womb?

Catti-brie laughed aloud at the seeming absurdity and shook her head, and for a moment, the woman was unsure of…everything!

What was this madness? Why wasn’t she just forcing her friends to teleport to safety, or at least, taking her unborn child to safety, instead of trying to parlay with a god-like being that was more a volcano than anything sentient to which she could relate?

After another moment, though, she sorted it all out. She was doing this because it was what she and her friends, particularly her husband, has always done. She wouldn’t shy in the face of danger, even in the face of danger to her child. No, because the cost was too high. They had to win here, for all the goodly folk of the region, including the child in her womb.

They had to win.

They all needed her to be a part of that.

Catti-brie started to extend her arm once more, but then changed her mind and instead called Guenhwyvar to her side. The grey mist formed into the great panther, and Catti-brie bent low and whispered instructions into the panther’s ear.

Guen leaped away, darting out of the room.

Catti-brie tossed the figurine to Artemis Entreri, not Yvonnel. “If I don’t return, give it to Zaknafein,” she instructed.

The stunned man looked at her.

“Yes,” she said. “I trust you in this. “Do not betray that trust, and do not insult us all in this moment of need by worrying about yourself above others.”

That brought a scowl from Entreri, but one that only lasted a moment, replaced by a helpless laugh and a nod.

“Drizzt believed in you,” Catti-brie told him.

Catti-brie cast her own warding spell, then, and stepped off the cliff.

[[ Ho boy, there’s a lot potentially going on here, and, in my opinion, things don’t look great. 

Rather than easing up on the forced redemption arc that Artemis Entreri is pushed down, Salvatore seems to have elected to charge full speed ahead. As suspected, the "cocoon of conscience" is yet another lazy plot device to introduce "character development" in such a way that makes Idalia's Flute look like a masterpiece idea. For one like Entreri, being entrapped in a device that shows him the horrors of what awaits him in the afterlife wouldn't and shouldn't automatically translate into the development of a conscience about what he's wrought onto others, and the same would apply to any value judgments that would be made in conjunction with that development.

It's heartbreaking to me, because Entreri doesn't even sound like himself anymore. Instead, he's like a wanna-be talking the talk but hardly walking the walk, a Drizzt-clone who has killed the character I fell in love with, put on his skin, and performs a sad mimicry of the assassin. Entreri's being shoved into this mold where he's yet another accessory to the Companions of the Hall.

The one decent thing that this passage does do is suggest that the source of Entreri's longevity is the jeweled dagger rather than Charon's Claw. The tie-in to Claw always felt rather made up on the spot, added in as a cheap source of quick tension-building.

As far as position in the book is concerned, I would guess that this passage takes place in the first third, with enough drama occurring such that everyone would learn of Drizzt's disappearing act, and think him dead (hence Catti-brie's usage of the past tense of "trust" when talking to Entreri). It's very unlikely that Drizzt is indeed dead, but I suppose the chance exists that he is. More and more people are favoring Artemis Entreri over Drizzt, so it might be Salvatore shifting focus to a new protagonist, as he did with Drizzt over Wulfgar in the beginning. Salvatore did hint to a fan that he was far from done with Entreri, however, in my opinion, this is far from a good thing. Boundless was bad enough that some of Salvatore’s most loyal fans questioned if he had indeed written the book, thinking that there’s no way that their beloved author could pen something so horrendous. I feel that this really goes to show how low the quality of Drizzt and his fellows have sank, and perhaps this is the impetus for Salvatore needing to shift gears. As such, I find myself ironically wishing that Drizzt is indeed alive and well and continues to be the focus of these books so that Entreri is spared Salvatore's decaying touch, for that seems to be all he is capable of these days. 

Yet, I will still continue to foolishly hold out hope that it’ll change. ]]

[artemis-entreri]

Relentless by R. A. Salvatore Price: $14.99 Release date: Jul 28, 2020 ISBN: 9780062688668 Format: E-book Add to cartAmazonBarnes & NobleGoogleiBooks Book InfoMore books by this authorThe epic conclusion to the long-awaited trilogy featuring one of the most beloved characters in all of fantasy—Drizzt Do'Urden—a rollicking tale of life, death, intrigue, magic, danger, and the … Read More

[[ The title to the next Drizzt book, along with its synopsis, has been revealed. “Relentless” will be the third and final book of the Generations Trilogy and is set to release on July 28, 2020.

From the publisher, HarperCollins:

The epic conclusion to the long-awaited trilogy featuring one of the most beloved characters in all of fantasy—Drizzt Do'Urden—a rollicking tale of life, death, intrigue, magic, danger, and the timeless bonds of family and friendship from New York Times bestselling author R. A. Salvatore. Displaced in time and unexpectedly reunited with his son Drizzt Do'Urden, Zaknafein has overcome the prejudices ingrained in him as a drow warrior to help his son battle the ambitious Spider Queen and stem the tide of darkness that has been unleashed upon the Forgotten Realms. Though Zaknafein has endured the most difficult battles, survival has come at a terrible cost, and the fight is far from over.

Facing demons and driders, Zaknafein carries the entire weight of Menzoberranzan surrounding Gauntlgym on his shoulders once more. But the chances of survival for him and his old friend and mercenary Jarlaxle look bleak. Trapped in a desperate and seemingly hopeless situation, the legendary warriors must reach deep inside themselves to face the impossible.

While the burdens Zaknafein bears are more than enough for one of Menzoberrazan’s greatest warriors, fate holds further challenges. When circumstances take an unexpected turn, Zaknafein discovers he must not only conquer the darkness but learn to accept the uncontrollable: life itself.

The stakes have never been higher for R. A. Salvatore’s most beloved creations in this final volume of his latest bestselling trilogy begun with Timeless and Boundless. A story of brave heroes filled with dangerous thrills, Relentless also considers eternal questions about morality, purpose, sacrifice, and the definition of harmony. Exciting, imaginative, and thought-provoking, it takes fans on an action-packed ride that will challenge their assumptions and leave them breathless and satisfied.

]]

[artemis-entreri]

[[ This post contains Part 1 of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

Introduction

I. Positives (you are here)     I.1 Pure Positives     I.2 Muddled Positives

II. Mediocre Writing Style     II.1 Bad Descriptions     II.2 Salvatorisms     II.3 Laborious "Action"

III. Poor Characterization     III.1 "Maestro"     III.2 Lieutenant     III.3 Barbarian     III.4 "Hero"     III.5 Mother

IV. World Breaks     IV.1 Blinders Against the Greater World     IV.2 Befuddlement of Earth and Toril     IV.3 Self-Inconsistency     IV.4 Dungeon Amateur     IV.5 Utter Nonsense

V. Ego Stroking     V.1 The Ineffable Companions of the Hall     V.2 Me, Myself, and I

VI. Problematic Themes     VI.1 No Homo     VI.2 Disrespect of Women     VI.3 Social-normalization     VI.4 Eugenics

VII. What's Next     VII.1 Drizzt Ascends to Godhood     VII.2 Profane Redemption     VII.3 Passing the Torch     VII.4 Don't Notice Me Senpai

Positives

I've found that the untrammeled positive elements of Boundless exclusively have to do with solid turns of phrase peppered throughout the book. There are also semi-positives in terms of characterizations and literary devices that Salvatore uses, but these are at best mixed. 

Pure Positives

Salvatore pulls off some surprisingly good descriptions in Boundless through the usage of a more varied vocabulary than his standard repertoire, evocative imagery, compelling metaphors, and other effective strategies. An example of a good passage is, "The demon responded with a word of its own, a croaking, grating combination of hard syllables that sounded to Regis like a porcupine being rubbed across the flesh of a giant frog." in normal Salvatore tradition, the description would've been left without the metaphor. Heck, I'm not even sure that "croaking" and "grating" would've been employed in regular Salvatore fashion. In addition to speaking to the imagination, the metaphor evokes the fantastical nature of the world, a world where giant frogs exist, ones that wouldn't simply rupture when a porcupine is rubbed against them. Furthermore, the metaphor harmonizes with the adjective earlier in the sentence, for even though the frog is not the thing doing the croaking, "croaking" matches frog, just as grating matches porcupine quills.

Another example of solid writing in Boundless can be found here, "Every syllable hit Rethnorel the way the flowing breath of a speaker might make the flame of a candle blow back." Like the previous example, this one combines the usage of a noun associated with an uncommon adjective and demonstrative imagery to good effect. The metaphor shows us that the character is buffeted in an almost soft manner, for such is the flicker of a candle, but it is a continuous assault. A line that is almost too good to imagine coming from Salvatore is, "...scurrying along like a pair of giant rats fleeing the purring pursuit of a hungry displacer beast." This description is short, concise, and yet contains so many effective elements: "scurrying" instead of "running", the alliteration in "purring pursuit", and of course, alluding to a unique creature specific to the world. Putting all of these elements together paints an expressive image of an earnest and high-speed chase, the predator full of pleased anticipation but the necessity of its hunt not allowing its contentment to tamper its progress.

A passage that I wish every Salvatore paragraph could emulate is this one, "Even the way she talked grated on him, every bitten-off word making him feel like someone was running the bark of an old and gnarly oak tree down the back of his neck. It seemed like this drow woman could barely get the words out of her mouth, so tight was her jaw, and when they did come out, they carried the hissing timbre of an open fire in a downpour." The standard Salvatore version of this would be something along the lines of, "Even the way she talked grated on him. Every word was bitten off tightly", which, granted is more concise than what was published, but falls far from embodying the soul of wit in its brevity. The imagery in the published metaphor more than lets us hear the way the female character talks, it lets us feel it. So, too, can we feel what it'd be like to try to talk while our jaws are locked. "Hissing timbre" is a beautiful description on its own, but combined with inciting a sound that everyone can at least imagine, even if they may not have heard firsthand, results in a punchy and effective description. An example of another effective description, and one that doesn't make use of a metaphor is, "Some time later, they lay beside each other, the soft glow of candlelight catching pinpricks of sparkle in the beads of sweat they both wore." Sweat is not normally an attractive feature, even when it's associated with a sexy scene. The way that this imagery is presented however invokes a sense of soft decadence, as though the characters were covered with a delicate and exotic garment strewn with countless pearls. The many sparkles from this "garment" help to further set the romantic mood far more than the soft candlelight would have done by itself. Although the description, "bag of demonic despair", doesn't look like much when presented by itself, and isn't as strong as the preceding examples, it's worth a mention because of how it adequately serves as a concise summary. The object that it refers to is Entreri enveloped in an unbreakable cocoon that an unknown demon trapped him in. The word "cocoon" shows up many times in relation to this object, and admittedly, is an concise, if a bit bland, way to describe the object from both within and without. Inside the encasement, Entreri is held in a state of perpetual torment, whilst outside Dahlia, and to a much lesser extent, Regis, are worrying about his condition. Perhaps "demonic" could be replaced with another adjective but overall I'm fine with the way it is, for anything referring more to Entreri's suffering might run the risk of sounding melodramatic.

"Running stride" is also worth noting because in a world that doesn't use the same units of measurements that we do, it's always jarring when inches, feet, and miles are cited, especially when readers of the text hail from countries that aren’t the US. Without the known common terms, it is understandably difficult to effectively convey distances in a concise and comprehensible way, so units of measurements like this example are wonderful because they use something that we all understand, and do so without breaking immersion.

Tasteful omission is as important as smart inclusion. I'd criticized Salvatore for trying too hard in Timeless by using "fashioned" in in awkward way, and he's dropped this altogether in Boundless. By the same token, "six hundred pounds of panther" doesn't appear at all. Salvatore's favorite adjectives, "magnificent" and "fine", are both used better in Boundless. The former appears thirteen times in Boundless but unlike in Timeless, the usage of most of them aren't vague and lazy ways of characterizing splendid objects, characters, or actions. Six of those thirteen usages can maybe be improved still, but that is already a huge positive change from the fourteen out of seventeen occurrences in Timeless. Meanwhile, "fine" appears fifty times, but many of that is part of modifiers like finer, finest, etc, and through a cursory scan, by itself, relatively few are used in inane ways. 

Muddled Positives

Aside from the examples in diction above, Boundless does contain praiseable elements, specifically even in areas where I usually criticize Salvatore. There are moments of decent, even good, characterization, and some of the negative potential I'd feared Timeless was leading towards are not realized in Boundless. Furthermore, there are improvements to be found in the themes that Salvatore employs, and some descriptors stand up to fact-checking.

One of my biggest criticisms of Salvatore is that he routinely disrespects what I describe as the beautiful tapestry of the Realms, which was woven together by the hands of many creatives who worked in harmony. In Boundless, the amount that Salvatore insensitively scribbles his name in Sharpie over the tapestry is reduced. Ironically, sometimes Salvatore scribbles over the portions of the tapestry that he'd worked with others to create, but in Boundless, he doesn't perpetuate this disservice to both himself and others as much as he has in the past. For better or worse, Salvatore did create a lot of information about drow, though his work is mostly limited to the city of Menzoberranzan. While the Drizzt books contain the most drow content than any other FR novel series, they've done so through their sheer volume, and they mainly portrayed the drow in a one-dimensional fashion. Just as there are many more drow settlements than the fanatic Menzoberranzan, so too, are even Menzoberranzanyr drow capable of qualities other than scheming self-service in the name of dedication to Lolth. In Boundless, we see more dimensions to the drow characters presented. Zaknafein is not the only drow in Menzoberranzan who possesses a moral compass. Loyalties born of motivations other than pride exist beyond the Do'Urden bloodline, with familial concern and the kind of love that'd been described as being unknown to drow inspiring or dissuading murderous deeds. In previous books, the closest that we got to "non-evil" drow were drow who had the potential to be good, perhaps even living for awhile in a goodly way, but eventually and inevitably squandering that potential. For example, Drizzt's sister Vierna was not as cruel as the other Do'Urden females, but ultimately, through trying to seduce her own brother and then turning a different brother into a drider, turned out to be just as bad as the rest of the Lolthites. Another similar example could be found with Tos'un Armgo, whom although having created a family with a surface elf, ultimately participated in the murder of his own family and returning himself and his daughter to the depraved society of Menzoberranzan. 

In Boundless, although the priestess Dab'nay Tr'arach follows a course similar to Tos'un, her path is much more nuanced, and although she squanders her morality for station, she does so with great ambivalence and regret. Dab'nay's house is long destroyed, with she and her siblings' surnames changed to reflect this. She stands to gain nothing by preserving members of her bloodline, but nonetheless, she endangers her own life to see that her brother isn't killed, a selfish thought of rebuilding her long-lost house not at all factoring in to her concern for her kin. It is also clear from actions such as Dab'nay running her finger playfully along the top of Zaknafein's nose while telling him that he, not his services, were worth waiting for, that the feelings that she develops for him are more than those a female in a matriarchal society entertains towards a favored pet or sex object. Dab'nay allows her vulnerability to show in Zaknafein's presence and does not conceal the tears she sheds for the way that they must live their lives. She also fears for Zaknafein's safety even though she'd arguably stand to gain from his demise, and feels guilt for implicating him negatively for the sake of her own survival. Before the Generations trilogy, these qualities were not possible in any genuine or long-lasting way in any priestesses of Lolth, not even a disgraced one. Prior, a disgraced priestess who isn't killed or turned into a drider would become even more dangerous, with having nothing to lose by concentrating the proverbial venom in her veins.

Dab'nay isn't the only Menzoberranzanyr drow who demonstrates the capacity for multiple dimensions in Boundless. So, too, does Harbondair Tr'arch and Arathis Hune. Harbondair possesses the same familial loyalty as Dab'nay, and, like his sister, possesses the ability to genuinely overcome past prejudices. Despite Zaknafein having destroyed his house and despite Zaknafein issuing him a death threat should he attempt to harm him again, Harbondair grows to develop a real friendship with Zaknafein. Arathis, while definitively more "evil" than the Tr'arch siblings, is motivated by more than his rank in Bregan D'aerthe to eventually go to a head against Zaknafein. It's never stated that Arathis' rivalry with Zaknafein isn't based solely in Arathis feeling threatened in his second-in-command position. However, from the way that Arathis is described to behave while Zaknafein is absent, Arathis appears to be motivated by jealousy that he's no longer Jarlaxle's favorite and most trusted follower. Jarlaxle makes it abundantly clear on numerous occasions that he considers Zaknafein and Arathis equally valuable, hence why he prohibited either from trying to kill the other, so were Arathis worried about his position in the mercenary band, he needn't have gone so far because he and Zaknafein were equals in that regard but Zaknafein was definitely his better in combat. However, there can only be one favorite, a fact that Arathis couldn't engineer, but because he could ignore it when Zaknafein was away, his mood was noticeably better when he was the only lieutenant by Jarlaxle's side. It's actually quite pleasant that Salvatore didn't spell out the nature of Arathis' motivations, the way that Arathis is successful in that it is shown and not told to us. Unfortunately, Arathis' fate is soon met, which is probably for the best, as this lets him safely fall into the "gets killed off before too many books ruin him" category that I'd previously (and prematurely) populated with Zaknafein.

Although the Boundless version of Jarlaxle continues to be consistent with the Timeless version of Jarlaxle, ergo de-fanged to his current timeline self rather to the much more morally ambiguous character he was in the earlier Drizzt books, there is a comical and memorable scene in Boundless that is true to Jarlaxle's irrepressible humor even whilst in the middle of delivering a solemn ultimatum. While forbidding Zaknafein from going after Arathis Hune, Jarlaxle manages to bring a smile to the very angry weapons master by assuring him that in any other circumstance, "I promise you, if we two were trapped in a cave alone and starving, I would not kill you. But if you died first, I cannot promise that I wouldn't eat you."

There are improvements in Boundless even when it comes to the less morally gray drow of Menzoberranzan. One such individual that gets a more profound treatment is Mez'Barris Del'Armgo, the future Matron Mother of the second house of Menzoberranzan. During Boundless, her mother holds that title, and House Barrison Del'Armgo is far from its destined ranking. High Priestess Mez'Barris, the most promising member of her house, has her position recognized by being the only one allowed to copulate with the strange and giant Uthegentel, a dubious honor that the other priestesses aren't interested in anyway. Other priestesses tease Mez'Barris' preference of Uthegentel because "it was unusual, almost unheard of, for a drow woman to be attracted to a man so physically superior to her". However, "Mez'Barris couldn't deny the thrill she felt when Uthgentel so easily tossed her up upon his hips, holding her aloft while he took her, never tiring. He threw her about as if she were a child, but he knew how to throw her indeed!" Other than the more than slightly disturbing analogy to a child in the context of a sexual setting, which really could've been better done comparing Mez'Barris to anything else, a rag doll maybe, or heck, even an animal, there are a lot of things going on in the description of Mez'Barris and Uthegentel's relationship dynamic that are pretty outstanding for Salvatore. First, it is made clear in no uncertain terms that Uthegentel's size is unusual, which directly addresses the misconception that elves in the Forgotten Realms are larger than humans. Elves are larger than humans in worlds such as Middle-Earth and Azeroth, but this is not generally the case on Toril. Second, Boundless specifically states with regards to Uthegentel, "He was stronger than the women, too -- another anomaly among the drow -- and was easily the strongest dark elf in the city. Even with magical assistance, other men could not match him, and even with Lolth-blessed spells of physical enhancement, other women couldn't, either." An extremely too-oft practice among the many people who love the very popular drow race is to ascribe Earth human characteristics to them: that the males are usually bigger than the females. Drow of the Forgotten Realms, like many animals of our world, are a species in which the females are larger and stronger than the males. The aspect that stands out the most about Mez'Barris and Uthegentel is a message about reversed gender roles and how, by conforming to the norm, one might miss out on some very exciting experiences. I don't really dare hope that this is a message that Salvatore was consciously conveying, but it would be pretty awesome if it was intentional on his part. Taking that message and reversing the genders for our patriarchal world, if Salvatore could encourage the idea that men do not become any less masculine when they break conventional ideologies of what a man should be, I would be willing to consider putting serious effort into building him a pedestal, and even gazing upon it favorably from time to time. 

There's one other thing going on with Mez'Barris with relation to Uthegentel, specifically, "as it pertains to the other priestesses' teasing, "'How can you be with a man who is stronger than you?' most women asked, seeming sincerely aghast at the thought. 'It isn't natural! Are you sure that you don't simply prefer the bed company of women?" Mez'Barris was sure." I'd actually completely overlooked this three times: as I was doing my read-through, as I was organizing my notes, and as I was reviewing my notes. It occurred to me, while I was writing the previous paragraph, that Mez'Barris' certainty about her preference of Uthegentel isn't based in anything sapphic, which, added to the fact that Boundless doesn't contain any gratuitous lesbian sex scenes means that Boundless is the first Drizzt book in quite possibly forever in which Salvatore doesn't fetishize female/female non-heterosexuality. This is, if it is what it is, HUGE. One of the things for which I regularly criticize Salvatore is how frustratingly often he drops in a female/female sex scene or has implied female/female sexytimes going on. Specifically its that this happens in a totally non-representative manner because, of course, the same treatment isn't even considered in terms of male/male representation. I've gone into this enough in the past and I'll go into it again later so there's no need to do that here, but seriously, just the fact that not once do we have anything even close to some random priestess whose name we won't remember banging this other random priestess whose name we similarly won't remember is such a large improvement. And with Mez'Barris conveying the reverse gender role ideology with Uthegentel, if Salvatore intentionally did all of this, I would totally consider, yet again, and pardon my french, building that fucking pedestal and putting him on it.

Dab'nay and Mez'Barris are two very different priestesses, but their respective scenes of intimacy are better done than such scenes in previous Drizzt books. The passion in Dab'nay and Zaknafein scenes are marked by affection, whereas in Mez'Barris and Uthegentel they're solely lustful. There is tenderness, even hints of trust, between Dab'nay and Zaknafein, whereas what's between Mez'Barris and Uthegentel is detached and mercenary. One is a silken handkerchief while the other is a stinging riding crop, and though each priestess doesn't feel jealousy that her lover is ridden by others, one willingly rents him out, while the other has thoroughly accepted that she is not entitled to possessive emotions.

The drow aren't the only characters who enjoy improved literary treatment in Boundless. The dramatis personae of the World Above receive some refreshing new dimensions. Wulfgar specifically, who has been hammered flat even prior to his resurrection, becomes more than a plot device that fights as much as he beds. Since his resurrection, the carefree barbarian has been primarily embodying getting the most out of his second life by sleeping with anyone and everyone willing to do so. In Boundless, we're told that Wulfgar has been with Penelope Harpell exclusively, even though she is a much older woman and, as Penelope herself realizes, Wulfgar can get practically any younger woman that he wants so he chooses. However, Wulfgar chooses Penelope and exclusively Penelope, because he's enamored with her confidence and authenticity. One of the things that I criticize Salvatore for is his poor handling of female characters, especially with regards to how the most redeeming features for his female characters are youth and beauty. For instance, Drizzt and Catti-brie's supposed great love has never been tested "on screen", for Catti died in her forties and was returned to Drizzt's side as a hot young thing. We never got to see how the glorious hero would've behaved as his mortal wife grew old and frail while he remained young and hale. Drizzt might've told himself that he'd never think Catti ugly, but he was never tested. Admittedly, Penelope isn't super old, but having the hunk that is young Wulfgar faithfully and exclusively stay by her side goes some distance in making up for the previous treatment and portrayal of women in the Drizzt books. The only downside to Wulfgar and Penelope is that their scenes of intimacy are awkward to the point of cringe-worthy, which suggests to me that Salvatore is writing outside of his comfort zone. Nonetheless, he's giving it an honest effort, and even though it doesn't work out, it looks to be a genuine attempt, for there aren't any contradictory messages in Wulfgar and Penelope's relationship.

Boundless is the first time that we see Dahlia up and about since Night of the Hunter. I'd feared that Salvatore was going to have Kimmuriel fix more than the damage wrought unto her by Methil El-Viddenvelp. It would've been an easy and lazy plot device, along the same lines of Idalia's Flute and the aboleth's influence in "developing" Entreri. Thankfully, Kimmuriel has not undone Dahlia's past traumas, nor even eliminated the more recent ones and the personality flaws that she has as a result of those traumas. What we see in Boundless is that Dahlia is still who she was during the Neverwinter Saga, modified by the experiences of her relationship with Entreri. As we follow Dahlia through a Waterdhavian nobles' ball, in addition to learning more about her through her thoughts, we're able to glean additional information through her physical appearance. Most of those details that are mentioned in the past, but certainly don't hurt to see repeated. For instance, "She was tall for an elf, nearly six feet, with black hair that she dyed with streaks of cardinal red." Specifics like height tend to be vague in Salvatore's writing, for after so many books it's clear that he can't keep track of his own details, so it's good to see Dahlia's, and even better that, once again, Salvatore reminds the readers that elves in Toril tend to be short. It's good to see that Dahlia still wears the diamonds she'd accrued from her years of being a black widow, for even though she's abandoned those practices, she hasn't abandoned her past and who she was. Furthermore, she now wears her hair in the manner that she'd use for her softer guise when she was with Drizzt, except this is presumably neither an illusion nor as a result of trying to manipulate Entreri as she did with it and Drizzt. It's a subtle reminder of how things have changed for her in a lasting way. 

In the previous books, we'd only seen Dahlia be angry, vindictive, selfish and petty. Although I'd always liked her more than any of Salvatore's other female characters, my opinion regarding Dahlia is an unpopular one. Dahlia felt very much like a character that Salvatore wrote for readers to hate. In Boundless, he appears to be trying to make her more than that. During the ball, Dahlia is comical, even silly, both of which can begin to endear a reader to a character. Throughout the rest of the book, Dahlia exhibits courage and loyalty so steadfast that it's easy to forget that she was once a villainous character, but she doesn't do so in such a way as to come across as goody two-shoes either. Dahlia is still very much not a goodly character, nor should she be at this point. Unfortunately, there exists a rather large problem with Dahlia, and that is her relationship with Entreri. In just as artificial as a way that it started, so, too, are we told more than that we're shown, namely, that Entreri had overcome his childhood demons and is now helping her overcome hers. The thing is, that whole plot with how Entreri overcame his demons by doing Drizzt-like good deeds doesn't ring true at all, and we're not shown how Entreri has been helping Dahlia overcome her own demons. I doubt we ever will, but I'll discuss the poor handling of Entreri in this book later. For now, I will add that I thought it was a good touch by Salvatore to have the apartment shared by the couple to be located in the Southern Ward of Waterdeep. The Southern Ward is, as of fifth edition D&D and the current timeline (~1490s DR), is no longer the poor ward that it used to be, which is very fitting for Entreri because he wouldn't want to live in the grimy Dock Ward or the destitute Field Ward any more than he'd want to live in the aristocratic Sea Ward, the Watch-infested Castle Ward, or the noble-infested North Ward. The Southern Ward is inhabited by common folk instead of hoity-toity nobles, with a good portion of its population hailing from southern Faerûn. Although Entreri's Calishite heritage is not given much treatment in the Drizzt novels, it would make sense if, even with his rough and austere childhood, that associations of home would bring some degree of comfort or at least familiarity. Waterdeep's Southern Ward is home to some of the best singers of Calishite music and probably the best examples of Calishite cuisine. The location of homes above stables or around inn yards allows us to accept that Entreri would have been able to ensure a good sightline of the goings-on around his domicile, likely a necessity for one of Entreri's nature. The only downside to all of this is that Salvatore calls the Southern Ward the "South Ward", a nomenclature that only fools would use, according to Volo's Waterdeep Enchiridion.

The best-developed member among the resurrected Companions of the Hall is Regis/Spider Parrafin, and this continues to be the case in Boundless. In the past, I'd criticized Salvatore on numerous occasions about how his heroes perform a lot more questionable actions on screen than do his villains. In the travesty of the series, Hero, I'd specifically noted that Regis and Wulfgar kicking people who were already lying down to be decidedly not heroic, even if the victims of said kicking were highwaymen. In Boundless, Regis doesn't do anything of the sort. No, in fact, he actually performs what would be a humbling or even degrading act himself by normal Salvatore standards, and conveys a surprising and important message thereby. Much like how I'm uncertain that the message conveyed by Mez'Barris and Uthegentel is intentional, I'm not sure if this is the case with Regis, but Regis admits to using his looks to get what he wants, which is unfortunately a strategy traditionally attributed to women alone, both inside and outside of Salvatore's books. When Regis states to Dahlia, "Because I do the same thing, as does my lovely wife, Donnola" as he points out that Dahlia knows how to use her looks to gain an advantage in her negotiations, he, in my mind, is performing a much more admirable feat than slaying a hundred rampaging ogres singlehandedly. Humility is a mark of any true hero, and although Drizzt and his companions are supposed to possess tons of humility along with other virtuous qualities, we see so little of those qualities. Instead, much of their actions are full of sanctimony and self-satisfaction. Another thing that was done well with Regis is his reaction to being in Entreri's presence. Despite the significantly de-fanged current nature of Entreri, and Regis' intellectual knowledge that the assassin wouldn't hurt him, Regis struggles to suppress the fear he feels in Entreri's presence. This is one of the few instances in which Salvatore correctly portrays trauma. Regis has more than enough reason to behave the way that he does, Entreri inflicted significant distress in his previous life, and, as Regis notes, "Was there any amount of time and any number of deeds that could fully erase that?" Regis' musing is at the core of many trauma victims' journey to recovery. Furthermore, there is no contrived PTSD in Regis' experiences like was the case with Drizzt in Hero. Accurate, too, is the way that Regis' struggle is focused on the stub of his pinky, with which he fidgets while fighting to hold his voice steady. This shows us rather than telling us that Artemis Entreri is still very much a trigger for Regis, and speaks more to Regis' courage in facing that trigger than had he been the one facing down Demogorgon in Menzoberranzan.

Those are the major positives in terms of characterization and literary devices employed in Boundless. There are also good points dispersed among the descriptions and interactions with lesser characters and incidental elements. While we're not quite sure what the demon possessing the little girl named Sharon is (or if it's a demon at all), Salvatore did a decent job of making Sharon unsettling and creepy under the creature's influence. It's also refreshing to see intrigue in a Drizzt book that isn't confined to Menzoberranzan. Although Salvatore doesn't do the intrigues of Waterdeep justice, he does make an effort to include them, and even if he doesn't show us a great amount of it, I appreciate the nod that he gives to its complexity through indicating that despite months spent in the City of Splendors, one as acute as Entreri hasn't been able to unravel the mysteries he'd been tasked to solve. Unfortunately, there's a total hiatus from the further development of the Neverember plot. The final thing that I wanted to mention for this section is a detail, that, although minor, stood up to fact-checking, which delighted me. A lot of Salvatore's action scenes and descriptions, despite going into overlong detail, are often impractical or simply incorrect. Towards the end of Boundless, we see Drizzt running with everything he's got, "his arms pumping for maximum momentum in the desired direction". I'm not a runner, so I had to research this, but I was ecstatic to find that pumping one's arms does actually help one run faster! Bravo, Salvatore!

That concludes the positive-oriented analysis of Boundless. From this point onward, I'll be performing my brutally critical and honest breakdown of the novel. Fair warning, it's not going to be pretty, because Boundless isn't. Sit tight though, and I'll tell you all the ways that it was bad in excruciating detail, for better or worse. 

[artemis-entreri]

[[ This post contains the Introduction section of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

Introduction (you are here)

I. Positives      I.1 Pure Positives      I.2 Muddled Positives

II. Mediocre Writing Style      II.1 Bad Descriptions      II.2 Salvatorisms      II.3 Laborious "Action"

III. Poor Characterization      III.1 "Maestro"      III.2 Lieutenant      III.3 Barbarian      III.4 "Hero"      III.5 Mother

IV. World Breaks      IV.1 Blinders Against the Greater World      IV.2 Befuddlement of Earth and Toril      IV.3 Self-Inconsistency      IV.4 Dungeon Amateur      IV.5 Utter Nonsense

V. Ego Stroking      V.1 The Ineffable Companions of the Hall      V.2 Me, Myself, and I

VI. Problematic Themes      VI.1 No Homo      VI.2 Disrespect of Women      VI.3 Social-normalization      VI.4 Eugenics

VII. What's Next      VII.1 Drizzt Ascends to Godhood      VII.2 Profane Redemption      VII.3 Passing the Torch      VII.4 Don't Notice Me Senpai

What Has Gone

Boundless is the second book in a series that is a turning point for both the Drizzt saga and for the Forgotten Realms novels. Salvatore's dark elf series is the only series to have escaped Wizards of the Coast's termination of the entire franchise's novel line, as it was the only one that interested an external publisher enough for them to adopt it. With the novels in the series now totaling close to forty, Salvatore was keen on Timeless acting as a point of entry for new readers and as something to still entice his loyal followers. However, as it was written, Timeless was a direct sequel to Hero, and as such, many readers, the returning ones specifically, found it hard to follow. Much had transpired, events that they hadn't read, many of which were significant. Timeless might've been less confusing for new readers, but at least of those with whom I spoke, they felt that they'd picked up a book in the middle of a long-running series. Salvatore's goal of defying reality appeared to have fallen flat.

In my review of Timeless, I non-ironically described the book as "Salvatore's best work to date". I'd say that I'm a hard person to impress, especially when it comes to Salvatore's writing, as it has led me to become pretty jaded. In Timeless, I saw improvements in writing style, storytelling, characterization, and consideration of the Realms as a whole. Timeless made me feel bad for having stood by my belief that the Drizzt books are responsible for the Forgotten Realms novel franchise being labeled as third-rate fantasy, because Timeless possessed a potential that never before existed in a Salvatore book. Timeless reignited my guttering hope and made me think that holding out for so long wasn't a foolish exercise in futility. As such, I was very optimistic about the then not-yet-named trilogy that Timeless was kicking off, I sincerely felt that it set a strong precedent for what was to follow. I even dared to believe that the future of the Forgotten Realms novel line wouldn't suffer with Salvatore as its sole author, if the example set by Timeless was followed.

Unfortunately, Boundless doesn’t follow Timeless' example. It is a tragically big step backwards. The tug of potential that I'd felt from Timeless slackened like a severed fishing line. I'd commented that during my reading of Timeless I felt like I was reading the work of a different author. I could say the same regarding how I felt while I read Boundless, but for a very different reason. While Timeless offers noticeably better fare than what is typically served up by Salvatore, Boundless's few good turns of phrases here and there are offset by brain hemorrhage-inducing phrases that feel like they belong in the likes of Fifty Shades of Grey. I suppose I shouldn't be too surprised that my hopes and dreams for the Drizzt books didn't pan out, but honestly, I didn't expect them to be dashed so thoroughly, so quickly. However, as grim as things are looking, I'm nonetheless sheltering a small flame of faith that things could recover. It's definitely doable, since the final book in the now named Generations trilogy just needs to be up to par with Timeless, and Salvatore did pull off Timeless, though probably with the help of the Harper Collins editors. He still has those editors, though why they don't seem to have been as present during the creation of Boundless as they were during Timeless is a mystery. The inconsistency in quality is as though they checked over a few passages here and there and left the rest as-is, figuring that Timeless was successful enough that they could expend minimal effort on Boundless. This would certainly be consistent with how Salvatore didn't attend ComicCon this year to hand out physical ARCs of Boundless like he did for Timeless last year. Or, perhaps, the text was tedious enough that the editors' eyes glazed over throughout much of it.

All joking aside, At the very least, Boundless' quality hasn't plummeted to the depths of Hero, which isn't insignificant, given that my earlier analysis said, "The best case scenario that I could hope for in reality was that Salvatore couldn’t get any worse, but oh boy did he get worse in the Homecoming Trilogy". As the middle book in a series, there's the potential for things to turn up for the better. Of course, they could also go much, much worse, following the trend in the preceding Homecoming Trilogy. Nonetheless, as usual, I'll discuss all the things that I felt went poorly, the things I found positive, and my own take on how things could be improved.

In an effort to make these long articles less clunky, I'm adopting a new format in which I'll separate my analysis into sections. I'll begin with the positive aspects of the novel before delving into the aspects of Salvatore works that I typically address, which in this case encompass his writing style, his writing practices, his characterizations, his regard for the Realms as a whole, the increasing levels of self-flattery in his books, and the problematic themes he tends to employ. I'll end with consolidating my speculations and forecasts about what's coming next based on the contents of Boundless, my knowledge of the Realms, and my experience with Salvatore's work. In the final section there is a sub-section dedicated to the discussion of Artemis Entreri, who my blog is dedicated to, and who hooked me into the world that I've grown to love so much.