With important MBotF character introductions and with a plot that actually progresses, this shows the initial stages of the empire that MBotF only ever alluded to. It's better than the first, almost to where I'd say this should have been PtA's start instead. ( )

A superb follow up to Dancer's Lament.

This book does an outstanding job of introducing the "Old Guard". Readers also receive some much yearned for insight into the abilities of our two primary protagonists. A whole host of new characters are introduced. The storytelling is just as good, if not better as the first book.

The next book cannot come fast enough. ( )

very important book in the Malazan series, as we see the very beginnings of empire assemble on the island of Malaz. Esslemont's style remains notably simple next to Erikson's vastly complex writing, but to some extent they complement each other, and of course they stake out much different narrative territory. while Esslemont tends to write one unified chronological story, Erikson writes the grandeur of aeons and characters who transcend time. together they created the world, and it's good they can inhabit it together. ( )

I really liked Dancer's Lament. I thought it was fantastic, and could serve as a great foray into the Malazan world for new readers. Deadhouse Landing takes it further. It's better. I enjoyed Dancer just as much as before, even though it feels like we see a lot less of him (which we probably do). A certain marine or two were also very welcome additions to the cast.

Addressing what I saw in other people's comments; firstly the convenience of all the big players being in the same place at the same time. The only one I felt was convenient was Sail, and even that didn't go how I thought it would in this book. The rest of the core future leaders of the Malazan Empire had pretty sensible reasons for being on Malaz, or for how they reached Malaz. A lot of people also felt Esslemont's writing a bit confusing at times. I agree with this partly, I feel like some sections could have been a little longer just to explain things better. What took getting used to was parts where characters would say we need to talk, and then in the next sentence they would be in a side room/upstairs together, whispering, with no words conveying the journey they just took. This was a pretty common thing throughout, where lots of short travels, be it a couple of streets or to an adjacent room, are just ignored and implied in the context. It's fine when you get used to it, and was almost certainly present in Dancer's Lament also, I just felt it mroe prevalent here, but it's hardly a deal breaker.

A very good book, and a fun read!

Spoilers:








When Jack shouts "Burn It!" and they burn the bridge, I saw the cogs turning. The birth of the Bridgeburners. Epic. On par with Dassem's showdown (as great as that was). ( )

And back to your regularly programmed Malazan bullshit. It's still good Malazan bullshit, though. ( )