Princess Rouran and the Dragon Chariot of 10,000 Sages is a short and sweet young adult novel by Shawe Ruckus, the first in a series.
The novel takes place at the height of the COVID-19 pandemic; Moli, a young girl from Penglai, China, travels with her mother to London to attend the funeral of Moli’s father, who died from Covid-related complications. After seeing her father’s final work displayed in The British Museum about a clan from Ancient China – the Rourans – Moli experiences a “time slip” and falls into the past. What ensues is what the Tenth Doctor might call “wibbly wobbly, timey-wimey… stuff.”
Without delving too far into it, the book ends with what seems to be a call to action for Moli (and some others we are introduced to in the latter part of the book) to fix the timeline.
The book reminds me a lot of isekai fiction (isekai is Japanese for “other world,” used when a character is pulled from the world they know into one totally different) and historical fantasy, especially series like the Magic Tree House. This book is certainly meant for an older audience than the Magic Tree House series (probably closer to the 14-19 range of teens), but it has the same whimsy and absurdism that I see in a lot of these types of books, mixed with a type of macabre chagrin that definitely matures it.
The book handles a lot of political topics, but mostly focused around the Covid-19 pandemic and the sinophobia that was generated from it. Plenty of other types of politics make their way into it, including deep meditation on human nature (though I am loathe to use such a phrase) and what it means to choose kindness and hope.
Since the onset of the pandemic, many artists have tried to encapsulate the experiences we had as a species and process everything that came with it. Comfort levels with regard to this topic vary, as well as the political ramifications that continue to ripple across the globe.
This novel has many layers; the aforementioned themes of real-world struggle, as well as mix-ins of science-fantasy, mythology and folklore, and in some ways absurdism. This makes it difficult to keep track of at times. I thought I knew what the book was going to be about, but then it took a sharp turn that threw me off about halfway through the book. Surprising your readers isn’t a bad thing, necessarily, but with the introduction of many other point-of-view characters so far into the book, it left me wishing we had had time to get to know this other cast of characters I am, presumably, supposed to spend the rest of the series with.
Since I didn’t have much time to get to know the main cast of characters besides Moli, I can’t really tell you much about them. They’re a diverse group of people, from different backgrounds and with different experiences.
The other main cast of characters is a band of dragons from Chinese folklore. I don’t feel like this is a spoiler, since the first line in the book foreshadows their appearance. They play the part of guides, as well as the keepers of the timeline. Again, they’re difficult to describe, and there are a lot of them, each with their own personality, but they mainly show up in the action after their initial introduction, so aside from their cryptic nature and strange appearance, we don’t get much of them, either.
Moli, our main point of view character, is who we get the most of, though strangely I feel like I hardly know her at all. It’s difficult to pinpoint how old Moli is; I started the book thinking she couldn’t be older than thirteen, but having finished the book I think she falls closer to the mid-teens. She refers to both of her parents by their first name, which with cursory research is odd not only in Western culture, but also in Chinese culture. She’s very fond of her parents – and regrets not spending time with her late father – and there was no indication as to exactly why she was in this habit. This also made her age hard to grasp, and her naivete and innocence further confused it.
Aside from that, Moli’s inner monologue sometimes jumps from philosophical – much like the narrative of the book itself – to childlike. Not that we can’t have both, or a complex character, or even a character whose thoughts and feelings are confusing to outsiders due to neurodivergence, but there has to be reason and continuity to this, especially as our main point of view character. I should be able to get to know her closely, but I often felt that she was at a distance that wasn’t suited for the close first-person point of view.
The other issue that I found bringing me out of the fiction – though this was only occasionally – was the setting descriptions; sometimes they were vivid and clear, other times I wasn’t quite sure where someone was standing and when.Sometimes I wished the narrative would take a step away from philosophizing and tell me more about the setting, have it set more sturdily in my mind. I don’t mind the rambliness of the narrative, I think it falls in line with what Shawe is trying to achieve with their writing. However, when all the characters are talking in their heads in this soliloquy sort of way, and the narrative is doing it too, it gets overwhelming.
I don’t want to come off totally negatively about the book at all – far from it, in fact. I think the concept and the worldbuilding of this novel is, well… novel. It’s creative and multilayered in a way I don’t see many authors juggle this well. Aside from my criticisms mentioned – which can certainly improve in a second book, which is currently available – I enjoyed myself while I was reading this novel, even when I was sort of confused on its direction.
The way the dragons talk is fun, and I think it fits them well; it’s this sort of condescending, otherworldly tone. They feel ancient and “above it all” (or at least, they think so). The way the novel melds science and magic and mathematics, math as magic and magic as science, is fun, and you don’t have to know much about math to get a general sense of what’s going on. Moli is a very endearing character, and when we get to know her she’s likeable. She has a hard time being brave, she makes mistakes – some really big ones, even – and does her best to rectify them. She’s growing and learning before our eyes, not just while she’s entering into this new world of time travel and mythology, but as she experiences the unfamiliar world of London and the hostility it can sometimes bring.
A theme of togetherness, a want of world peace, a sort of disappointment in the way things are, make this novel an optimistic one, which is just fine for its intended audience. The characters want to save the world despite the fact that it’s flawed, broken in many ways, and it would be easy to shrug humanity off as a lost cause, informed not only by their positions as protagonists, but also as deeply hopeful individuals who have not only seen the worst the world has to offer, but also the best of humanity.
If you love isekai anime or the Magic Tree House series, enjoy science fantasy, or have a weekend to read something new, I would definitely recommend this book; it’s got growing pains, of course, as writers we all have them, a first installment of a series is going to stumble at times, but this is why I also tend to give this genre a little more leeway and compassion – as a fantasy writer myself, it’s a lot to juggle, and the content will have anyone monologuing – as evidenced by the length of this review. If I read future installments in this series, or if I read other works by Ruckus, I’ll be excited to see how the writing grows. I may be far more critical of the novel than most other reviews; I tend to be a nitpicker. However, I think as an indie writer without access to the resources more established writers have, they have created a thought-provoking backdrop to an intense epic historical fantasy series, the perfect weekend read when you not only want to hear about the fantastical, but also about the deeply human.