When Aconyte was created and announced that it would be printing Fantasy Flight Games fiction, I was incredibly excited. My experiences with previous Fantasy Flight fiction have been middling. While I have yet to get to their Arkham Horror novels, I was eagerly anticipating their Twilight Imperium novels. The first novel, The Fractured Void, was a fun space caper with shifting alliances, enjoyable characters, and fleshed out the universe that has only, previously, existed on faction sheets and at the beginning of board game manuals.
I had expected the novels to follow the same set of characters, which was a bit naïve as none of the other recent Fantasy Flight fiction has ever just decided on a set of characters and featured them from novel to novel perpetually (unless it was immediately billed as a trilogy). Only one character returns from the first novel, Serveryne Dampierre (Sev from now on) in a meaningful way, though events are casually mentioned.
The Necropolis Empire is a strange book for me. In some ways, it is an improvement on The Fractured Void. In others, it is a step back. There are mechanical and narrative steps forward, just as there are mechanical and narrative steps forward, so I’m going to break my review down in that manner.
Mechanics
One of my biggest complaints about the Fractured Void was the constant winking at the reader. There were so many “sly” (actually, bluntly in your face) references that it was almost distracting. Thankfully, the author cuts back on that a lot. The read is so much smoother without the constant winking. We also continue the examination of the Barony of Letnev, with a more focused lens on that particular faction. The Fractured Void focused on the Federation of Sol, the Mentak Coalition, and the aforementioned Barony, and while it was cool to peel back some of the superficial layers of multiple factions, focusing primarily on one is a better experience.
There were, however, some choices that I did not enjoy. There are some tropes utilized that just were not very inventive. The first is the Mary Sue trope. Bianca Xing is the protagonist in the novel and is positioned as a Mary Sue character. The Mary Sue trope doesn’t bother me as much, as it typically goes hand in hand with plot armor, and The Necropolis Empire attempts to take some of the control out of Bianca’s hands by putting it in her genetic code, but it is quickly established that Bianca is neigh-invulnerable. I liked how Bianca was purely reactionary to external stimuli but going as far as to make her almost impervious to lasting harm or pain is just a bit too much.
The second issue, and the more glaring one, in my opinion, was the token sexual orientation representation. I will be very clear, having characters with different sexual orientations is good for fiction, it can improve narrative, and help others understand the experiences of people who are different than you. The Necropolis Empire fails at this. One character at one point mentions that he is not attracted to women, and then that facet of his personality is never expanded upon again. In fact, he isn’t in the book after that (not fridged, the narrative just leaves where he is). The protagonist, Bianca, thinks about how she is attracted to men, women, and androgynes, and then never mentions it again. Another main character references that he prefers men, but has dabbled in various genders, and then the story moves on. The only character that has acted on their sexuality is Sev, and that was in the previous novel; that was in the laziest sexy space lesbian trope possible. It is not enough to just say “this character is _____” and then move on without referencing it again. Either don’t include it, and let us paint the unknowns ourselves, or bring it into the narrative.
Narrative
The Necropolis Empire is essentially a space opera Disney Princess book. Bianca Xing is always looking towards the stars in a backwater former human colony that hasn’t heard from the Federation of Sol in close to 3000 years. Then suddenly, here come these Barony aliens to annex the colony, levy taxes, and also declare the Bianca is the long-lost heiress of a great fortune. She is whisked away, and of course, learns not all is at it seems, and that she is not all that she seems. The stark narrative difference from the Fractured Void was a bit of a shock when I first started reading. Spending dozens of pages on a low-tech mud puddle of a planet is not how I expected the sequel to begin. This measured approach, however, works in favor of the novel, as we get some great subtextual universe-building, and Bianca is an enjoyable enough character that I am not yearning for something else.
The universe-building requires further context. Some of the best parts of the Fractured Void created great lore for species in Twilight Imperium. One story, in particular, talked about a Yin Brotherhood outpost by the Ghost of Creuss’ space, that out of nowhere essentially dissolved. In this book, we met a member of the Yin Brotherhood who offhandedly mentions his fear of the Creuss and his dissolved space station, which is a great connection, and I thought was well placed in the story. A tertiary character from The Fractured Void in Sargasa makes an appearance, which I would argue establishes his potential role in future books. Heuvelt even has a funny link to the Fractured Void.
What makes the beginning of the story so interesting is that it really hunkers down on the fact that the galaxy is shattered. There was a unifying empire once, thousands of years ago, but it splintered so totally that the subject races were set back due to its splintering, and wide-spanning vassal states had to abandon colonies and people because it was impossible to hold it all together. This might be one of the best examples of how engaging in a supplemental medium can improve the main medium. These books enhance the board game without being required reading, as opposed to the current state of Star Wars, where, to understand the Snoke we see on screen we need to read hundreds of pages of supplemental material to have even the foggiest idea of what Snoke is, or what his plans are.
One of the biggest problems I had with the Fractured Void was the constant name-dropping of Twilight Imperium factions to the point that it was distracting. This tendency was largely absent in this novel, thankfully. All faction name-drops made sense narrative-wise. Towards the end of the novel, some factions are brought in a bit late, but I appreciated how related to the narrative they were.
What doesn’t fare so well? The majority of characters. Sev, of course, benefits from character development from The Fractured Void, while Bianca gets the lion’s share of the narrative. The other main characters, Heuvelt, Ashont and Clec are hardly developed at all. Ashont and Clec are essentially the same characters at the beginning as at the end. Heuvelt gets a much too quick arc about having the partnership and trust of Ashont and Clec, and that’s it. Heuvelt is introduced late in the book, about a third of the way in, and his introduction is jarring, as it is not indicated at all that another main character would be introduced. Sev’s reintroduction is also late but is more palatable as the Barony of Letnev, her species is present early on, and a ship associated with her, the Grim Continence, is also introduced early. Other characters? Essentially stereotypes. Eccentric laboratory man, check. Sad parents that must let go of their child, check. The ambitious and ruthless first officer, check. Fanatic and obsessed scientist, check. The evil man behind the curtain, check.
Overall, I sped through this book. I enjoyed it as much as the first novel, and for different reasons. It is primarily a space opera, with the subgenera being a coming of age story, as opposed to the caper of the first. A lot of the winking at the reader was cleaned up, which made it a smoother read for me. The character development could use some work, as Sev essentially stays the same, Heuvelt’s arc is way too fast. And every other non-Bianca character is one-note. The Necropolis Empire is better than the Fractured Void, but by inches, not miles, and if a coming of age story does not resonate with you, then this may be a tougher read. 4/5