Reflecting on "The Darkness That Comes Before": A Journey Back to Bakker
Sometimes, you just need to revisit a cherished old friend, and for me, that friend turned out to be R. Scott Bakker’s The Darkness That Comes Before, the first novel in The Prince of Nothing series. It’s been a while since I last ventured into this richly-crafted world, and with the release of the sixth book, The Great Ordeal, looming on the horizon, I felt it was the perfect time for a refresher. While I typically don’t make a habit of re-reading, the depth of Bakker’s narrative called me back, and I was pleasantly surprised to find that my earlier love for the text had only deepened.
At first glance, The Darkness That Comes Before might seem like another epic fantasy tale, complete with sprawling landscapes, ancient evils, and intricate magic systems. Yet, what truly sets this series apart is Bakker’s unique world-building. Drawing inspiration from the Mediterranean during the First Crusade, he crafts a setting that feels both familiar and utterly original. The cultures, beliefs, and histories are vibrant and complex, giving readers a rich tapestry to explore. These aren’t mere copies of historical nations—we encounter unique societies that feel alive and relevant.
The magic system in this world is perhaps one of the most compelling facets. Unlike traditional enchanted realms where spells are whimsical or overly convenient, Bakker’s magic operates on a razor’s edge—it can either shimmer with low-level utility or erupt into sheer chaos. The concept of Chorae, artifacts that can neutralize this raw power, adds a thrilling layer of tension and balance to the story. I found myself captivated by how the magical and political dimensions interplay, often leading to moments that feel painfully human amidst the cosmic stakes.
Delving into the characters, Bakker offers a richly layered cast, each one flawed yet fascinating. Khellus, the Dûnyain monk, is a sociopath—cold and calculating, he views others as mere tools for his ambitions. His navigation of the Holy War’s complex social currents provides sharp commentary on human nature and manipulation. Cnaiür, the barbarian grappling with vengeance and cultural estrangement, is equally compelling; he embodies the tumult of personal and societal conflict. Then there’s Drasas Achamian, or Aka—tortured and self-reflective, he captures the essence of loss and the burden of knowledge beautifully. Finally, Esmenet’s struggle as a woman in a harsh world presents a stark view of gender dynamics, reminding us how vital complex characters are, regardless of their number.
Bakker’s writing style is another highlight. His ability to weave in-world proverbs and a glossary enriches the reading experience, and his transitions between character perspectives and broader observations keep the narrative fluid. I particularly enjoyed passages like, “Kings never lie. They demand the world be mistaken,” which encapsulates the entwined nature of morality and power. It’s these moments of clarity that resonate deeply, inviting readers to reflect on their own understanding of truth and leadership.
Yet, I must note that my appreciation for the book has evolved; while Bakker showcases remarkable craftsmanship, I found the limited presence of female voices a bit glaring upon this re-read. As my reading sensibilities have matured, I can’t help but wish for more fleshed-out female characters to complement the intricate male perspectives.
In conclusion, I wholeheartedly recommend The Darkness That Comes Before to both seasoned epic fantasy readers and newcomers. It’s a beautifully dark exploration of morality, politics, and the human condition. Re-reading this book offered me not just a nostalgic trip but an opportunity to engage with Bakker’s themes from a fresh perspective. As I prepare for the next installment, I take comfort in the allure of this world—a place where every shadow holds secrets, and every thought can ignite a revolution. Happy reading!
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