When it comes to Fantasy world-building there’s a number of templates that are perennially popular with authors and those who read the books. Most immediate to mind is the medieval-esque setting of castles, Kings and Queens that I shall just call “Tolkien”. It is probably the most used and the most variable – dragons are optional.
Some look to History for inspiration – many of you reading this may know of The Wars of the Roses influence on Game of Thrones, for example. There’s also the Asian Empire version, all pagodas and feudal order, which I’ll simply call “Kurosawa”. We can get a steam-punky Fantasy straight out of the grimy factories of the Industrial Revolution, or by contrast there’s the opulent baroque “Renaissance” version, full of science and invention. And going further back, we get a version which this book emulates – the “Roman” version, a combination of I Claudius and The Fall of the Roman Empire (1964).
Nothing wrong with that, of course. Even classics such as Isaac Asimov’s Foundation have used such settings as a template. Using such recognisable features may save the writer and reader time spent in having to set these things up, creates a setting that works and allows us to get on with the story.
From the publisher: The Emperor is dead. Long live the Empire.
General Bordan has a lifetime of duty and sacrifice behind him in the service of the Empire. But with rebellion brewing in the countryside, and assassins, thieves and politicians vying for power in the city, it is all Bordan can do to protect the heir to the throne.
Apprentice Magician Kyron is assigned to the late Emperor’s honour guard escorting his body on the long road back to the capital. Mistrusted and feared by his own people, even a magician’s power may fail when enemies emerge from the forests, for whoever is in control of the Emperor’s body, controls the succession.
Seven lives and seven deaths to seal the fate of the Empire.
This one is heavy on the Romanesque trappings, all plumed helms, gladius and legions, so much so that excepting the magic element this one could read like a historical novel. The battle scenes are straight out of Gladiator or Spartacus (again, not a bad thing for me.) Whilst Seven Deaths of an Empire uses these references sparingly, just enough to maintain the pace, its mix of magic and military prowess creates an engagingly epic read.
The death of the Emperor in battle leads to a journey, ensuring the Emperor’s body and his amulet of authority is brought safely back to the city capital. This is partly so that the populace can give tribute and see that he is dead as well as to initiate the handover to the Emperor’s successors – which in this case are the Emperor’s children. The eldest, Alhard, is arrogant and immature, whilst the daughter Aelia is (at least at first) cool and willing to listen to others.
Magician Padarn and his apprentice Kyron are sent with General Bordan and his troops to meet the returning body, as there is a risk of the body being kidnapped by rebels before the tributes can begin. As part of the academic Gymnasium, they act with the Empire’s religious priests whose leader Livilia hates the Gymnasium and all they stand for. With captured barbarian Emlyn to act as a mediator between the skilled troops and the savages who live in the outlands, they go to meet the corpse and its retinue. There are battles both there and back, leading to many killed.
As the honour guard approaches the capital, things become increasingly intense. There seems to be uprising brewing in the lands outside the city, as the journey has made the group realise. The Emperor in waiting appears to be increasingly irrational and prone to provocative action.
The leaders of the Gymnasium, the Keepers of the Sacred Flame and the leader of the military (Vedrix, Godewyn and General Bordan) struggle to ensure that the body returns safely and keep a city that is concerned and restless over the change in command calm. There are attacks by barbarians outside the city who see the body as a means of causing disruption to world order.
At the same time, Kyron finds out about his mysterious past and that there is more than he realised about his heritage.
With a title like Seven Deaths of an Empire, it should be clear from the start that not all of the characters we get to know reach the end of the novel. Some of these are not missed whilst others are noticeable by their absence. Matthews does well to build up sympathy towards the characters we are clearly meant to like, although some of the villains are perhaps a little too deliberately bad.
Perhaps my favourite is General Bordan, the experienced yet weary leader, respected by his troops, whose dedication to duty and the Emperor’s family is rather impressive – even when some of his tasks are rather unpleasant. Alongside him, Godewyn, the religious leader, seems kind and generous if a little bumbling, whilst Vedrix, the Master of the Magicians, is the voice of calm, determined to keep the status quo whilst all around law and order seems to be crumbling.
When the actual power behind the throne is revealed towards the end of the novel, it was an interesting twist. The ending has some unexpected elements, which lead to the inevitable conclusion setting up for the next book. It was good enough to make me want to read the next one now.
In summary, for those who like a Romanesque setting with factions fighting amongst each other for control, with an added touch of magic and mysticism, this is a great read. It’s a big book but I enjoyed it.
Seven Deaths of an Empire
By G R Matthews
Published by Solaris, June 2021
560 pages
ISBN: 978-1781089132
