After reading a chapter or two, I realized to my surprise that I have never actually read this first Salvatore novel before. It's a strange experience, because I know the story of Drizzt so well from other books and other media, to the point that it feels like I must have read this previously...but I definitely hadn't.
Back when TSR published this novel in 1988, it was trying to distance itself from a lot of the pre-existing gaming properties that it had published when Gary Gygax was running the company. The company had had good success with the Dragonlance series, and so it'd cast about, looking for other authors. It had to get rid of the "Gord the Rogue" series, and in general wanted to cut off all ties with the old Greyhawk campaign setting. The company chose Ed Greenwood's Forgotten Realms as the setting that would then become the default AD&D game setting, and The Crystal Shard was the first attempt to engage gamers in "the Realms" as fiction. Being disdainful of the change and contemptuous of the company's handling of Gary Gygax, I effectively boycotted most of this stuff, which I realize now is why I didn't read this when it was published. It's a shame, because (just like the Dragonlance books) I probably would have enjoyed this book a great deal more as a teenager.
The story is pretty good, but it is clearly an outline of an AD&D campaign, with the halfling thief (Regis), dwarven fighter (Bruenor), human barbarian (Wulfgar), and dark elven ranger (Drizzt) as archetypal player characters. Each character is given equal weight in the story, which feels strange in retrospect because Drizzt retroactively became the major protagonist in the repackaging of the book and its sequels (the copy I read labels this as "Legend of Drizzt volume four"). Drizzt is definitely not the main character in this book; the party of PCs is. The campaign is epic in scope, with the characters battling giants, employing large-force tactics on the battlefield, casting spells, using magic items, slaying a dragon, collecting loot, defeating a dark wizard, banishing a demon, countering an evil artifact, and winning a war. As far as I know, TSR did not create a series of modules to accompany this book (as they did with the Dragonlance books), and that's surprising, because this book reads like a gaming session, complete with goofy player dialogue in silly accents. Really, in the other books I never noticed Drizzt or his friends speaking in such stilted, pompous upper crust English. In this book, with all of his "I shan't hold you to that" dialog, I couldn't help but imagine Drizzt speaking in a prissy Jacob Rees-Mogg dialect, which was so funny it enhanced my enjoyment of what is really a decent plot presented with awful writing.
One passage actually elicited an involuntary guffaw from me. Sadly, it was unintended humor. I mean, the writing is bad, but I didn't actually expect to find a gem of a Bulwer-Lytton contest entry within its pages. Here it is (from page 278): "His concern touched Regis, as would a starving man crying out for food." You know, because the only thing that makes life bearable for a hobo who hasn't eaten in four days is the sweat of a halfling. Everybody knows this, just as halfling dander is a powerful narcotic. Regis has starving men touching him all the time; it's a natural hazard of being a halfling in a world of malnourished humans.
That's a stand-out in the bad writing contest, but the rest of the book isn't much better. The whole thing is written in a strangely remote passive voice that is completely narrative with no demonstrative elements at all. Put another way: the book tells us what the characters are doing, what they are feeling, what they are thinking, and what they are going to do, without ever just showing us simply through their behavior. There is no subtext to any of the characters; thought, emotion, motivation...everything is presented to us as fact. It's so weird and so consistent that it feels intentional. The result is that the book feels like a story that comes from an oral tradition, so like a Norse saga, the poem of Beowulf, or a Homeric tale that it feels even weirder that it isn't in verse. There's little complexity and the narrative declares what each person is thinking and what they plan before they actually take action.
I'm convinced that this first novel was not planned as the beginning of an endless series of books about Drizzt. There's so much in this book, and a great deal of it includes the plots of several of the books that were written later (particularly the entire "Dark Elf Trilogy"); it's clear that Salvatore had no idea that he would write more after this, so he stuffed as much as possible into this one book. It's like George Lucas filming Star Wars: a New Hope as the one story he was going to tell in the middle of the longer series, and only after it did monster box office did he go back and start to plan to tell the rest of the stories.
The main reason that I'm glad I've read this now is that I finally have more of a connection to more of the characters in the Legend of Drizzt board game. I wouldn't recommend this book to anyone older than 15, and even then only with a big caveat about it being Salvatore's first book.