Review: Sigvald, Darius Hinks

No sooner did I complete the last post on the Upcoming Warhammer Chronicles than I picked up the book that I said I would have to read before the book that I really wanted to read; Valkia the Bloody. There's no real argumentation for this as Sigvald is only the first novel in the omnibus that collects three, with Valkia being the second. It's not as if Sigvald takes places chronologically before Valkia, or if there's even a connection between the two, apart from the two novels taking place in the same setting and focusing on Chaos Heroes but, well, you know. It's one of those things of mine. I can't help it. One after the other, I need to read them in the order as they've been presented to me.
Good thing I had this novel still lying around.

Mild Spoilers ahead.

Now then.
Just as the Time of Legends novels do, the Warhammer Heroes series introduce us to the status quo of several important characters in the most current time frame of the Warhammer world (right before the End Times that is) and this one focuses on the titular prince Sigvald the Magnificent, a champion of the Chaos god Slaanesh, god of pain, pleasure and all round lord of excess.
It means that we'll be reading about Sigvald as he is on the tabletop and that no matter where the novel begins, he must end it exactly as he is, capable and strong as he is as the model. Which means that, for the largest part, our story can do some quite original stuff. And even then, I admit that for me; the latter parts of the novel were still the standout moments.

We begin our story several centuries into a decadent lifestyle that has begun to become boring. The bright prince, Sigvald, is not yet the perfection of the tabletop miniature as he still has remnants left of his soul, and a hidden yearning for the simple life he once had the option of having.
Now; something important that is quite spoilerific: As Sigvald still has remnants left of his mortal soul, it means he can die.
It's important to know this as it takes away the preconception that you might have going in, that nothing matters in this story, because such a named character couldn't possible die, could he?

I'll admit, it's what made the first half of the novel not as interesting as it could have been. There was this constant sense that I was treading water. The events didn't seem to matter, because every revealed character motivation had been revealed to be about killing Sigvald. But the novel did play with character motivations a bit and there were some surprises in store. The story is standard, though above average for 'named' Warhammer stories.

As for characters, Sigvald himself almost continuously acts like a spoiled child, as for his expected nature, as a vain, perfect killing machine used to getting everything he wants. His more annoying moments are offset by his personal chancellor, Oddrùn who is the heart and soul of the novel and the only character you can really root for (though I've found rooting always an overrated thing to do) and has the more emotionally charged moments of the novel on his side.
Actually, for the most part, Hinks introduces a whole bunch of characters that are interesting and, something that is unusual for the setting, proved to be quite durable. It's an odd thing, a subversion almost, where you expect the usual Chaos-backstabbing and wanton carnage (and, oh that is there), but... it could have been way different. Always engaging and occasionally surprising, throughout the novel managed to avoid the usual clichés, from the Princess, to Schuler, to Viga Baroi, to the Norscans, when the scene moved away for a last time from these characters I couldn't have anticipated exactly where they ended up.

When one is trekking in the Chaos Wastes, you never quite know what you will see, and it was no different here. This was the biggest draw of the novel for me. As a Chaos lover I always devour new views and insights into the landscape of the Wastes or of the Warp.
Apart from some of the expected maddening fluidity in an ever-changing landscape there were some legitimately original moments, particularly in the 3 quests Sigvald has to undertake to gain access to more power. From a meeting with Galrauch to the journey to Sigvald's patron God him/itself, these are the scenes why you will be reading the novel. Among these standout moments though, it were the scenes in the woods which were particularly memorable, giving hints of primordial horror and bringing to mind dark mysteries of the deep woods and the hidden monsters lurking there. Think the Ritual or a messily horrific version of Mythago Wood (though, that IS an assumption as I still haven't read it, I know, shame on me!).

The battles are decent, and the novel itself ends in an epic no-holds-barred free-for-all. Gleefully chaotic, and horrifically violent. On the one hand it's the most facile depiction of epic warfare as possible, delivered in bite-sized chunks that are just as easily forgotten as they are digested, and utterly ludicrous in its mind-numbing over-the-top violence. But on the other, it's also badass as hell.

Sigvald placed a foot on his throat and forced his head into the bloody slush.
The ground fractured and split, allowing Sigvald to stamp the man's head beneath the surface. Then it folded back into place over his neck, leaving the man to thrash his limbs, with his head embedded in the stone.

It's insanely over the top and occasionally also quite hilarious and, like Sigvald himself is constantly laughing, you're right there laughing along with him.
The madness and carnage in the end is on such a scale that it becomes hard to believe and loses some of its impact, but then, this is why we're here. This is pulp, baby. The Black Library at its best: Glorious, fast-paced and fun.