Author – Blake Charlton
Publisher: Tor Books
Release Date: March 2nd, 2010
It’s obvious from the very early pages of Spellwright that Blake Charlton is a child of late-eighties and early-nineties Fantasy. It’s full of dastardly villains, righteous youths and hidden destinies. Like contemporaries Brandon Sanderson and Peter V. Brett, Charlton is doing his damnedest to bring back the type of fantasy where the good guys are good, and the bad guys are bad (barring a few genuinely surprising twists in the final pages) and the fate of the world’s at risk of being overrun by demon hordes.
And that’s not where the comparisons to Brett and Sanderson end. Both of those novelists are known for their intricate, imaginative magic systems, which are not only cool spectacles and a catalyst for visceral battle scenes, but also intimately woven into the plot and world of their stories, and Charlton’s work is no different. Spellwriting, which gives the caster the ability to ‘write’ complex magical formulas–much like a computer programming language–and manifest nearly anything they can think of (including cognizant, living spells called constructs and golems), is at the centre of Charlton’s story, with the main hook being that the protagonist, Nicodemus Weal (who was once thought to be a hero from prophecy) is a cacographer, a dyslexic Spellwright who can neither write his own spells nor come in contact with another’s spell without causing disastrous results.
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