This is the fourth book in Dan Brown's thrilling series, and the latest installment did not disappoint! Brown is able to construct wildly complex character arcs and ever-changing plots as though the task is simple at best. One major way his books eat at the readers mind is his expert use of multiple third-person pov. This trick works well in this series because of how the story is set up: time-crunch to save the world, two or more 'sides', lots of characters who are usually working against each other. For example, Robert and his female companion, Sienna (he always has a lady with him), are running from an Italian assassin--or so they think--and end up killing her in self-defense. The assassin, Vayentha, falls to her death with the last sentence from her pov being, "Then, with a sudden crash, Vayentha's entire world vanished into blackness" (pg 208). This is followed by Langdon's witness, "On the stone floor of the Hall of the Five Hundred, the spike-haired woman lay motionless, a dark pool of blood quickly spreading from her head" (pg 208). It just creates a really interesting effect in fast-paced scenes. Another element that Brown incorporates is dramatic irony. He uses the multiple pov often to do this. Since it is a thriller, there are many times where one side doesn't realize something pivotal while the reader is cued in on this. Such a scenario occurred when Langdon and Sienna believed they escaped a high-pressure chase but in fact were still being secretly followed. Langdon believes, "Aside from a few startled glances at the mismatched couple emerging from the tiny door in the foundation of Palazzo Vecchio, nobody gave them a second look. Within seconds, Langdon and Sienna were moving east, swallowed up by the crowd" (pg 210). This is immediately followed by a new character that becomes critical to the advancement of the plot noticing, "The man in the Plume Paris eyeglasses picked at his bleeding skin as he snaked through the crowd, keeping a safe distance behind Robert Langdon and Sienna Brooks. Despite their clever disguises, he had spotted them emerging from the tiny door on the Via della Ninna and had immediately known who they were" (pg 211). This type of irony only creates more suspense for the reader as they pray that Langdon and Sienna make it out alright. Contrary to the last point, Brown had a lot of fun with a giant plot twist with the characters' roles. From the beginning (or as characters are introduced) it is established that Langdon (the protagonist) is being hunted by Italian authorities, Dr. Sinskey is drugged and being held captive, Sienna is the only one Langdon can trust, and Ferris--while shortly being allowed into Langdon and Sienna's small circle--may or may not have the plague and is most likely the acquaintance of the overall antagonist. This all stays the same until the last one hundred pages of the book when Sinskey explains the nature of everyone's character to Langdon. Langdon has retrograde amnesia and can't remember the last two days of his life. So it comes as major shock when he realizes that he wasn't running from Italian authorities, rather the director of the World Health Organization whom he had agreed to help before suffering amnesia. The single largest plot twist was actually very sly. A major part of this book was the repetition of phrases such as "seek and find" or the replaying of Zobrist's video for every. single. character. Well, in chapter 66 a flashback scene plays out from the point of view of Zobrist's lover. Since the prior chapter was from Ferris' perspective and had him making some questionable choices, the reader assumes he has control of the plague. However, 68 pages and one country later the same scene plays out again. The one difference is an added line at the end: "Relax, Sienna." This moment meant that Sienna was Zobrist's accomplice, which was pivotal since from the moment Langdon wakes up in the hospital, she was the only one he trusted. Suddenly, he has to stop her and it all gets very messy. Brown is very experienced with writing Robert Langdon's character so the book is fluid and fun. He richly combines expansive historical data with present ordeals to create shocking--though realistic--future outcomes.
Another element that Brown incorporates is dramatic irony. He uses the multiple pov often to do this. Since it is a thriller, there are many times where one side doesn't realize something pivotal while the reader is cued in on this. Such a scenario occurred when Langdon and Sienna believed they escaped a high-pressure chase but in fact were still being secretly followed. Langdon believes, "Aside from a few startled glances at the mismatched couple emerging from the tiny door in the foundation of Palazzo Vecchio, nobody gave them a second look. Within seconds, Langdon and Sienna were moving east, swallowed up by the crowd" (pg 210). This is immediately followed by a new character that becomes critical to the advancement of the plot noticing, "The man in the Plume Paris eyeglasses picked at his bleeding skin as he snaked through the crowd, keeping a safe distance behind Robert Langdon and Sienna Brooks. Despite their clever disguises, he had spotted them emerging from the tiny door on the Via della Ninna and had immediately known who they were" (pg 211). This type of irony only creates more suspense for the reader as they pray that Langdon and Sienna make it out alright.
Contrary to the last point, Brown had a lot of fun with a giant plot twist with the characters' roles. From the beginning (or as characters are introduced) it is established that Langdon (the protagonist) is being hunted by Italian authorities, Dr. Sinskey is drugged and being held captive, Sienna is the only one Langdon can trust, and Ferris--while shortly being allowed into Langdon and Sienna's small circle--may or may not have the plague and is most likely the acquaintance of the overall antagonist. This all stays the same until the last one hundred pages of the book when Sinskey explains the nature of everyone's character to Langdon. Langdon has retrograde amnesia and can't remember the last two days of his life. So it comes as major shock when he realizes that he wasn't running from Italian authorities, rather the director of the World Health Organization whom he had agreed to help before suffering amnesia. The single largest plot twist was actually very sly. A major part of this book was the repetition of phrases such as "seek and find" or the replaying of Zobrist's video for every. single. character. Well, in chapter 66 a flashback scene plays out from the point of view of Zobrist's lover. Since the prior chapter was from Ferris' perspective and had him making some questionable choices, the reader assumes he has control of the plague. However, 68 pages and one country later the same scene plays out again. The one difference is an added line at the end: "Relax, Sienna." This moment meant that Sienna was Zobrist's accomplice, which was pivotal since from the moment Langdon wakes up in the hospital, she was the only one he trusted. Suddenly, he has to stop her and it all gets very messy.
Brown is very experienced with writing Robert Langdon's character so the book is fluid and fun. He richly combines expansive historical data with present ordeals to create shocking--though realistic--future outcomes.